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: Taras Grigorovich Shavchenko, is a Ukrainian national poet [1814-1861]. His songs are studied and sung to this day, at all levels of society, from kindergarten to high school. Most of Shavchanko's poems were written in the form of folk songs and are often mistakenly defined as folk songs without mentioning his name. Therefore, Shavchanko is considered a national poet, but also a folk poet and therefore his poems did not disappear, somewhere in the archives, but are sung to this day. Some of his songs have become secondary anthems of Ukraine and the audience at concerts stands on their feet when the song is played. Like, for example, the song Moaning Dnieper, the overflowing flood. The song My evening star is one of the many and famous songs of the Ukrainian national poet and painter, Taras Shavchanko, and the one that became so famous that it was considered a folk song. The poet's life were very short and most of it was spent in exile, or in prison, due to his writing, which favored the individual and the people, over the government. He wrote the song My evening star during one of the periods of his incarceration, or alternatively, during forced military service, in the residential barracks, or at a guard post. It was between the years 1845 and 1857, for the crime he wrote, condemning the Tsar, Nicholas I and especially his wife, Shavchanko, was arrested, then imprisoned, exiled and sent to forced military service, to serve his sentence. Three years later, when he finished his forced service as a soldier, he wrote in this poem his experiences in the fort where he stayed. All this was in, Orenburg, region in Ukraine, where in 1847, close to the year the poem was written, the Orenburg, region announced the change of faith from Christianity to Islam. This possibility is indicated by the sentence in the song, babies are rocking, and without baptism they die. Shavchanko wrote a series of poems, which were interpreted as anti-Semitic poems. But Shavchanko wrote protest articles, against the anti-Semitism articles published at the time, in the extreme conservative press. Anton Peperani, the Israeli writer, poet and translator of Ukrainian origin, said that he knew this anti-Semitic poems in his elementary studies and hated them and the poet, Shavchanko. Later he learned about Shavchanko's many protests against the anti-Semitic articles published in the Ukrainian conservative press in the 18th and 19th centuries, a period in which Shavchanko [1861-1814] lived and changed his mind and even translated many of his poems into Hebrew, in honor of the 200th anniversary of the Ukrainian poet's birth, including the song, Evening star. The song, Evening star, is heard in the movie, Hungarian Rhapsody. In the film, a Russian World War II fighter was captured while wounded and transferred to a POW camp. The American army that arrives in Germany frees the Russian captives but prevents their return home until the end of their interrogation by the liberating Americans, and among the rejected to return home, it is the wounded prisoner who has just been released. In Russia, there is no information about the prisoners who were released and they are reluctant to return home and the girl of the wounded Russian fighter is desperately waiting for him. When world peace came after the war, the girl renewed her singing career, competed in a beautiful singing competition and won the song, Evening star, when in her heart she sang to her lover who did not return. On her return home from the competition in which she won first place for her poetry, while getting off the train she meets on the platform her lover, the soldier who has also returned home from Germany. The literal description of the words of the song is as follows, Oh star of the evening, be alert there in the sky. You and I quietly will talk in my jail cell all night. Tell me my evening star, how on the horizon the sun sets and how the rainbow in the cloud touches the Dnieper river and how the poplar tree branches sky up and the willow tree bends its top and silently cries and sends its branches to the water. Tell me about babies in the crib who were not sanctified by baptism and died and to humans persecuted like wolves sleeping on graves in cemeteries. Tell me how the nocturnal birds, in the huge poppy fields heralds a bad voice for everyone. Humans have become characterless and only you are, star, left to me as a loyal friend. Who even knows about Ukraine and what it is going through it now. I will not close my eyes and I will tell everything I know and you stars dedicates my stories to God in heaven.
Such loneliness, despair, Shevchenko speaks with the enening star while in exile...conversing about the fate of Ukraine...about her misfortunes...telling her the truth then asking her, in her capacity to then quietly to tell it all to God...Who may not be aware? Beautifully done!
Taras Hryhorovych Shevchenko, (born Feb. 25 [March 9, New Style], 1814, Morintsy, Ukraine, Russian Empire-died Feb. 26 [March 10], 1861, St. Petersburg, Russia), foremost Ukrainian poet of the 19th century and a major figure of the Ukrainian national revival. Born a serf, Shevchenko was freed in 1838 while a student at the St. Petersburg Academy of Art. His first collection of poems, entitled Kobzar (1840; “The Bard”), expressed the historicism and the folkloristic interests of the Ukrainian Romantics, but his poetry soon moved away from nostalgia for Cossack life to a more sombre portrayal of Ukrainian history, particularly in the long poem “The Haidamaks” (1841). When the secret Brotherhood of Saints Cyril and Methodius was suppressed in 1847, Shevchenko was punished by exile and compulsory military service for writing the poems “The Dream,” “The Caucasus,” and “The Epistle,” which satirized the oppression of Ukraine by Russia and prophesied a revolution. Though forbidden to write or paint, Shevchenko clandestinely wrote a few lyric poems during the first years of his exile. He had a revival of creativity after his release in 1857; his later poetry treats historical and moral issues, both Ukrainian and universal.
Taras Shevchenko's writings formed the foundation for the modern Ukrainian literature to a degree that he is also considered the founder of the modern written Ukrainian language (although Ivan Kotlyarevsky pioneered the literary work in what was close to the modern Ukrainian in the end of the 18th century). He was the foremost Ukrainian poet, prose writer, painter and playwright of the 19th century. He was a major figure of the Ukrainian national revival. Taras Shevchenko was a man of universal talent. All his life and creative work were dedicated to the people of Ukraine.
Taras Hryhorovych Shevchenko (Ukrainian: Тарáс Григóрович Шевчéнко) (March 9 [O.S. February 25] 1814-March 10, [O.S. February 26] 1861) was a Ukrainian poet, artist and humanist. His literary heritage is regarded to be the foundation of modern Ukrainian literature and, to a large extent, the modern Ukrainian language. Shevchenko also wrote in Russian and left many masterpieces as a painter and an illustrator. Life. Born into a serf family in the village of Moryntsi, of Kiev Governorate of the Russian Empire (now in Cherkasy Oblast, Ukraine) Shevchenko was orphaned at the age of eleven. He was taught to read by a village precentor, and loved to draw at every opportunity. Shevchenko went with his Russian aristocrat lord, Pavel Engelhardt, to Vilna (Vilnius, 1828-1831) and then to Saint Petersburg. Engelhardt noticed Shevchenko's artistic talent and apprenticed him in Vilna to Jan Rustem, then in Saint Petersburg to Vasiliy Shiriaev for four years. There he met the Ukrainian artist Ivan Soshenko, who introduced him to other compatriots such as Yevhen Hrebinka and Vasyl Hryhorovych, and to the Russian painter Alexey Venetsianov. Through these men Shevchenko also met the famous painter and professor Karl Briullov, who donated his portrait of the Russian poet Vasily Zhukovsky as a lottery prize; the proceeds were used to buy Shevchenko's freedom on May 5, 1838. First successes. In the same year Shevchenko was accepted as a student into the Academy of Arts in the workshop of Karl Briullov. The next year he became a resident student at the Association for the Encouragement of Artists. At the annual examinations at the Imperial Academy of Arts, Shevchenko was given a Silver Medal for a landscape. In 1840 he again received the Silver Medal, this time for his first oil painting, The Beggar Boy Giving Bread to a Dog. He began writing poetry while he was a serf and in 1840 his first collection of poetry, Kobzar, was published. Ivan Franko, the renowned Ukrainian poet in the generation after Shevchenko, praised the freshness of the compilation: "[Kobzar] immediately revealed, as it were, a new world of poetry. It burst forth like a spring of clear, cold water, and sparkled with a clarity, breadth and elegance of artistic expression not previously known in Ukrainian writing." In 1841, the epic poem Haidamaky was released. In September of 1841, Shevchenko was awarded his third Silver Medal for The Gypsy Fortune Teller. Shevchenko also tried his hand as a playwright. In 1842, he released a part of the tragedy Nykyta Hayday and in 1843 he completed the drama Nazar Stodolya. While residing in Saint Petersburg, Shevchenko made three trips to Ukraine, in 1843, 1845, and 1846. The difficult conditions under which his countrymen lived had a profound impact on the poet-painter. Shevchenko visited his still enserfed siblings and other relatives, met with prominent Ukrainian writers and intellectuals such as: Yevhen Hrebinka, Panteleimon Kulish, and Mykhaylo Maksymovych, and was befriended by the princely Repnin family especially Varvara Repnina. In 1844, distressed by the condition of Ukraine in the Russian Empire, Shevchenko decided to capture some of his homeland's historical ruins and cultural monuments in an album of etchings, which he called Picturesque Ukraine. Exile. On March 22, 1845, the Council of the Academy of Arts granted Shevchenko the title of an artist. He again travelled to Ukraine where he met the historian, Nikolay Kostomarov and other members of the Brotherhood of Saints Cyril and Methodius, a political society dedicated to the political liberalization of the Empire and transforming it into a federation-like polity of Slavic nations. Upon the society's suppression by the authorities, Shevchenko was arrested along with other members on April 5, 1847. Although he probably was not an official member of the Brotherhood, during the search his poem "The Dream" (Сон or "Son") was found. This poem criticized imperial rule, personally attacked Emperor Nicholas I and his wife Alexandra Feodorovna, and thus was considered politically inflammatory; of all the members of the dismantled society Shevchenko was punished most severely. Shevchenko was sent to prison in Saint Petersburg. He was exiled as a private with the Russian military Orenburg garrison at Orsk, near Orenburg, near the Ural Mountains. Tsar Nicholas I, confirming his sentence, added to it, "Under the strictest surveillance, without a right to write or paint." With the exception of some short periods of his exile, the enforcement of the Tsar's ban on his creative work was lax. The poet produced several drawings and sketches as well as writings while serving and traveling on assignment in the Ural regions and areas of modern Kazakhstan. But it was not until 1857 that Shevchenko finally returned from exile after receiving a pardon, though he was not permitted to return to Saint Petersburg but was ordered to Nizhniy Novgorod. In May of 1859, Shevchenko got permission to move to his native Ukraine. He intended to buy a plot of land not far from the village of Pekariv and settle in Ukraine. In July, he was arrested on a charge of blasphemy, but was released and ordered to return to Saint Petersburg. Death of Shevchenko. Taras Shevchenko spent the last years of his life working on new poetry, paintings, and engravings, as well as editing his older works. But after his difficult years in exile his final illness proved too much. Shevchenko died in Saint Petersburg on March 10, 1861, the day after his 47th birthday. He was first buried at the Smolensk Cemetery in Saint Petersburg. However, fulfilling Shevchenko's wish, expressed in his poem Testament" ("Zapovit"), to be buried in Ukraine, his friends arranged to transfer his remains by train to Moscow and then by horse-drawn wagon to his native land. Shevchenko's remains were buried on May 8 on Chernecha Hill (Monk's Hill; now Taras Hill) by the Dnieper River near Kaniv. A tall mound was erected over his grave, now a memorial part of the Kaniv Museum-Preserve. Dogged by terrible misfortune in love and life, the poet died seven days before the Emancipation of Serfs was announced. His works and life are revered by Ukrainians and his impact on Ukrainian literature is immense. Heritage and legacy. Taras Shevchenko has a unique place in Ukrainian cultural history and in world literature. His writings formed the foundation for the modern Ukrainian literature to a degree that he is also considered the founder of the modern written Ukrainian language (although Ivan Kotlyarevsky pioneered the literary work in what was close to modern Ukrainian at the end of the eighteenth century.) Shevchenko's poetry contributed greatly to the growth of Ukrainian national consciousness, and his influence on various facets of Ukrainian intellectual, literary, and national life is still felt to this day. Influenced by Romanticism, Shevchenko managed to find his own manner of poetic expression that encompassed themes and ideas germane to Ukraine and his personal vision of its past and future. In view of his literary importance, the impact of his artistic work is often missed, although his contemporaries valued his artistic work no less, or perhaps even more, than his literary work. A great number of his pictures, drawings and etchings preserved to this day testify to his unique artistic talent. He also experimented with photography and it is little known that Shevchenko may be considered to have pioneered the art of etching in the Russian Empire (in 1860 he was awarded the title of Academician in the Imperial Academy of Arts specifically for his achievements in etching.) His influence on Ukrainian culture was immense, so much so that the Soviets felt the need to appropriate his legacy for their own purposes. During Soviet times, the official position was to downplay strong Ukrainian nationalism expressed in his poetry, suppressing any mention of it, and to put an emphasis on the social and anti-Tsarist aspects, that is, to Class struggle within the Russian Empire. Shevchenko, who himself was born a serf and suffered tremendously for his political views in opposition to the established order of the Empire, was presented in the Soviet times as an internationalist who stood up in general for the plight of the poor classes exploited by the reactionary political regime rather than the vocal proponent of the Ukrainian national idea. This view is significantly revised in modern independent Ukraine, where he is now viewed as almost an iconic figure with unmatched significance for the Ukrainian nation, a view that has been mostly shared all along by the Ukrainian diaspora that has always revered Shevchenko.
Mykola Markevych (Ukrainian: Микола Андрійович Маркевич; Russian: Николай Андреевич Маркевич; 7 February 1804-21 June 1860) was a Ukrainian historian, ethnographer, musician and poet of Ukrainian Cossack descent, who was known as a friend of Alexander Pushkin, Wilhelm Küchelbecker, Anton Delvig and Kondraty Ryleyev. His main work is the History of Little Russia (in 5 vols.), which was published in Moscow between 1842 and 1843. History. Mykola Markevych was born in Dunaiets, Chernigov Governorate, Russian Empire (now located in modern-day Ukraine) on 7 February 1804. He studied at the Saint Petersburg Pedagogical Institute from 1817 to 1820. Then he studied piano and composition in Moscow. He served as an officer in the Russian Imperial army from 1820–1824. Markevych collected many historical materials on Cossack history and Ukrainian folk songs at his estate and around the area of the modern-day central Ukraine. He wrote many works on Little Russian folk customs and beliefs, as well as foods. He also wrote extensively on Zaporozhian Cossacks, most notably on Yakov Barabash and Martyn Pushkar. His works influenced his friends Alexander Pushkin and Wilhelm Küchelbecker as well as Nikolai Gogol. He died in Turivka, Poltava Governorate, Russian Empire on 21 June 1860. Many of his works have not been published. His personal archive and diary are kept at the Institute of Russian Literature in Saint Petersburg.
A Kobzar (Ukrainian: кобзар, pl. kobzari Ukrainian: кобзарі) was an itinerant Ukrainian bard who sang to his own accompaniment, played on a multistringed bandura or kobza. Kobzars were often blind and became predominantly so by the 1800s. Kobzar literally means 'kobza player', a Ukrainian stringed instrument of the lute family, and more broadly-a performer of the musical material associated with the kobzar tradition. The professional kobzar tradition was established during the Hetmanate Era around the sixteenth century in Ukraine. Kobzars accompanied their singing with a musical instrument known as the kobza, bandura, or lira. Their repertoire primarily consisted of para-liturgical psalms and "kanty", and also included a unique epic form known as dumas. At the turn of the nineteenth century there were three regional kobzar schools: Chernihiv, Poltava, and Slobozhan, which were differentiated by repertoire and playing style. In Ukraine, kobzars organized themselves into regional guilds or brotherhoods, known as tsekhs. They developed a system of rigorous apprenticeships (usually three years in length) before undergoing the first set of open examinations in order to become a kobzar. These guilds were thought to have been modelled on the Orthodox Church brotherhoods as each guild was associated with a specific church. These guilds then would take care of one church icon or purchase new religious ornaments for their affiliated church (Kononenko, p. 568-9). The Orthodox Church however was often suspicious of and occasionally even hostile to kobzars. The institution of the kobzardom essentially ended in the Ukrainian SSR in the mid 1930s during Stalin's radical transformation of rural society which included the liquidation of the kobzars of Ukraine. Kobzar performance was replaced with stylized performances of folk and classical music utilising the bandura. Soviet kobzars were stylised performers on the bandura created to replace the traditional authentic kobzari who had been wiped out in the 1930s. These performers were often blind and although some actually had contact with the authentic kobzari of the previous generation, many received formal training in the Folk conservatories by trained musicians and played on contemporary chromatic concert factory made instruments. Their repertoire was primarily made up of censored versions of traditional kobzar repertoire and focused on stylized works that praised the Soviet system and Soviet heroes. In recent times, there has been an interest in reviving of authentic kobzar traditions which is marked by the re-establishing the Kobzar Guild as a centre for the dissemination of historical authentic performance practice.
Kobzar (poetry collection). Kobzar, first edition (1840). Kobzar (Ukrainian: Кобзар, "The bard"), is a book of poems by Ukrainian poet and painter Taras Shevchenko, first published by him in 1840 in Saint Petersburg, Russia. Taras Shevchenko was nicknamed The Kobzar after the publishing of this book. From that time on this title has been applied to Shevchenko's poetry in general and acquired a symbolic meaning of the Ukrainian national and literary revival. The first publication consisted of eight poems: "Думи мої, думи мої, лихо мені з вами"(My thoughts, my thoughts, you are my doom), "Перебендя" (Perebendya), "Катерина" (Kateryna), "Тополя" (Poplar tree), "Думка" (Thought), "Нащо мені чорні брови" (Why should I have Black Eyebrows), "До Основ'яненка" (To Osnovyanenko), "Іван Підкова" (Ivan Pidkova), and "Тарасова ніч" (Taras's night). There was three editions of the Kobzar during Shevchenko's lifetime: 1840, 1844 and 1860. Two last of them included Hajdamaki-another famous book (poem) by Taras Shevchenko, published in 1841. 1844 edition was entitled as Чигиринський Кобзар і Гайдамаки ("Chyhyryn's Kobzar and Hajdamaki" or "Kobzar of Chyhyryn and Hajdamaki"). Censorship in the Russian Empire prompted publication of the poetry by Taras Shevchenko in non-Russia-ruled lands, such as Prague (now in the Czech Republic) or German editions.
Taras Shevchenko is the national poet of Ukraine, and I am a native of Ukraine, whose poems accompanied me in the education system from kindergarten to examination in Ukrainian literature at school (his works were taught systematically and in depth in eighth grade Ten years - we studied Ukrainian literature systematically according to the periods, from the beginning to the middle of the 19th century in the eighth grade, in the middle of the 19th century and the beginning of the 20th century in the ninth grade, the 20th century in the tenth grade) When I was a kid, I had a children's book illustrated with children's songs by Shevchenko (most of which were social songs). In addition, the monument to Shevchenko in the Shevchenko Public Park in Kharkov is considered one of the attractions of the forest, it goes without saying that every time I walked there at the dawn of my childhood, I saw the statue and heard who and what Shevchenko is. Since he is a national poet on the one hand and a folk poet on the other, most of his poems were written in the format of folk songs, and many of them are indeed considered folk songs. For example, in her second home we sang the hymn "Oh Moran in the meadow, in its beauty it is a flower" I thought it was a folk song. When I came across it in the children's magazine "Barvinok" (Winka) and saw that it was a poem by Shevchenko (by then I already knew who it was), on the one hand I was very ashamed of my ignorance, and on the other I was amazed at the fact that the poet's poetry conquers the people so much His songs to folk songs. In addition. The song "Moaning Dnieper, the Flood", which is in fact the opening of the poem "Crazy", was composed and performed as a separate song, and many people, at least outside Ukraine think it is a folk song, and only in Israel is the name of D. known. Krzyniewski who composed it. In eighth grade, when we systematically studied his creative endeavor, we learned (and some of them read in class) all his antisemitic poems, but according to our curriculum no one bothered to tell us about Shevchenko's participation in the protest against extremist anti-Semitism in the conservative press at the time. Anyone who unequivocally claims that Shevchenko was antisemitic ignores this fact). Imagine what emotions these lessons aroused in me when we studied the poem "Heydemaks", which sang a hymn to the Heidemaks Rebellion of 1768 ("Kulievshchina"). I really hated his poetry, and now that I know all the facts, I realize I did him an injustice. When I started learning Hebrew systematically, I felt like trying to translate some song into Hebrew, and the first song I translated was the song "Moaning Dnieper, the Flood Goes" that I already mentioned above. It was back in 1996, and the translation was monstrous, then I edited it countless times, the last corrections were made back in 2013, when I translated the whole poem. Since then I have dreamed that when the day comes I will translate into Hebrew all the antisemitic songs we learned in school, and I have actually translated most of them. I owed it to myself, there was something Freudian about it. When I started translating Ukrainian poetry, I was amazed at the multiplicity of allusions to Shevchenko's poems in the works of contemporary Ukrainian poets. In most cases (as in the two Pavlichko songs published in the hyphen-"My long-awaited land always lamented me" and "The Nightingale" or in Lyubov Yakimchuk's song "Students in black and white") I added a footnote that the song contains an allusion to this or that work by Shevach Clean, but I was convinced that I would not be able to translate the songs mentioned, which is another reason why it was important for me to translate his poetry into Hebrew. Towards the 200th anniversary of Shevchenko's birth, I began translating his poems into a Jubilee book that was supposed to be published in Hebrew, and at the same time I submitted requests for support to various parties. I did not have time to wait for their answer, because it was important to complete the work before the Jubilee, but in the end I received nothing. For now, I plan to publish a book of translations of the poems of Katrina Klitko-a contemporary Ukrainian poet. We will see in the future what can be done with the Shevchenko poems I have translated so far. Since 2014 has been declared a year in Shevchenko-in case I fail to publish a book, I will try to publish as many important songs as possible - first and foremost those that are taught as compulsory material in the education system and not composed-in magazines and on the Internet.
Dawn of my evening - Gordy Gladky, Taras Shevchenko "My Evening Dawn". My evening dawn. A song on the words of T.G. Shevchenko. Taras Shevchenko loved to watch the evening sky, so the image of the star is the poet's favorite image. "Dawn of my evening…" is an excerpt from the work "Princess", written by the poet in the Orsk fortress, where he was exiled by the king. That is why Taras Shevchenko turns to the dawn, as if to a man, to talk quietly with her and exchange observations about the natural mystery. The poet urges to love and appreciate every minute of his life, and to find beauty in simple things: how the sun sets behind the mountain, how the rainbow borrows water from the Dnieper…Lyrics of song "Зоре моя вечірняя" online in full: My evening dawn, Come down over the mountain, Let's talk quietly In captivity with you. Tell us how the Sun sets behind the mountain, How the rainbow borrows water from the Dnieper . How wide the vulture dissolved Vita ... And over the water itself Willow leaned; She sent green branches on the water, And unbaptized children sway on the branches. Songwriter: Taras Shevchenko Composer: Gordiy Gladky. Questions about the content of Taras Shevchenko's song "Zore moya vechernyaya": - To whom does the poet address? "What does he ask for at dawn?" - What river does the poet mention in his poem? - What does the poet mourn for? - How do you understand the phrase "the rainbow borrows water from the Dnieper"? Biographical information of the author of the words of the song "Dawn of my evening": Taras Hryhorovych was born in March 1814 in the small village of Morynka, located in the Cherkasy region. The writer's father was a simple serf. There were seven children in the family, including four daughters and three sons. Shevchenko spent all his childhood in his village, as well as in the village, which was owned by Lieutenant General Engelhardt. From childhood, the future Kobzar showed interest in art. When Taras turned eight, he went to serve with a local priest, where he secretly studied literacy. A little later, Taras is taken away by the servants of his landlord. First, Taras served as a cook, and then a Cossack. The landowner immediately took into account the passion and talent of the young Shevchenko for painting, and wanting to have an artist at his court, sent him to study. For a year and a half the young man studied with the great portrait painter Jan Rustem. In 1831, together with the landowner Taras moved to St. Petersburg, where he continued his studies with the master Shiryaev. It was thanks to Shiryaev that Shevchenko became acquainted with the Hermitage and the Summer Garden, as well as with Zhukovsky and Bryullov, who would later play an important role in his release. It is worth noting that the talent from God was the reason. At the age of 24, Taras Hryhorovych was able to free himself from serfdom, thanks to the aforementioned Zhukovsky and Bryullov, who collected two thousand five hundred rubles at an auction and then redeemed the young man from serfdom. Freed from all serfdom Shevchenko continued his studies at the Academy of Arts, where in parallel with the study of painting became interested in literature. Already at that time the first collection was published - "Kobzar". In 1844, after graduation, Taras returned to Kiev, and joined the commission for the review of old acts as an artist. In 1846 Shevchenko joined the Cyril and Methodius Brotherhood, where he wrote his revolutionary collection "3 years", for which in 1847 Taras Grigorovich was arrested. He was sent to the Orsk Fortress as a soldier, whom Nicholas I forbade to write and draw. Despite the ban, Kobzar quietly continued to draw and write. As early as 1848, Taras was included in an expedition to explore the Aral Sea as an artist, where Kobzar painted portraits and landscapes. During his expedition to the Karatau Mountains, Shevchenko continued to write paintings and short stories. In 1857 Shevchenko returned to Ukraine, thanks to Count Tolstoy and his wife. Kobzar was banned from staying in Ukraine, and after some time, under police supervision, Shevchenko decided to return to St. Petersburg. The poet's health weakened considerably after his exile, and he celebrated his forty-seventh birthday as seriously ill. The next day after his birthday in 1861, Taras Shevchenko died. Death came to Kobzar far from his homeland - in St. Petersburg, where he was buried in Smolensk cemetery. At the request of the will, Shevchenko's ashes were transported to Ukraine, to Tarasova Mountain. During his short life Taras Shevchenko made an invaluable contribution to the development of Ukrainian culture, leaving a legacy in literature and art. Shevchenko's works are thousands of paintings and works that will find a response in every heart. The works of the great Kobzar have been translated into one hundred languages around the world, including Japanese, Arabic and Korean. Today Taras Shevchenko is one of the most important achievements of the Ukrainian people. Biographical information of the composer of the song "Dawn of my evening": Humble Poltava music teacher Gordiy Pavlovych Gladky was born around 1849 on a small farm in the present-day Karliv district in Poltava region. He came from a poor family, because in his youth he was forced to earn a living. In the 1960s, he worked as a salesman in a tea shop owned by the Moscow merchants, the Popov brothers, located on Petrovskaya Street in Poltava. G. Gladky's musical abilities were revealed early enough, because already during his work as a clerk, he had a good voice. The young man was especially fond of Ukrainian folk songs, of which he knew many. He respected Shevchenko above all. With no more solid instrument, he played all his songs on the guitar, singing them with friends who were always welcome guests in his poor hut. Every Saturday, young people gathered in Gladky's room on the ground floor of a large three-story building. These were mostly local seminarians, who usually had good voices, so each time an impromptu male choir was formed impromptu. It is quite natural that this choir was always led by G. Gladky himself, who even then showed his remarkable conducting skills. It was this choir that became the first performer of his works. Among them were many choral arrangements of Ukrainian folk songs, as well as his own works on the words of Taras Shevchenko, as well as his famous "Testament". Gordy Pavlovich Gladky was lucky enough to create a choral melody with great convincing power. It surprisingly combines popular anger towards the oppressors and deep love for native Ukraine, a call to fight for freedom, for people's happiness and elements of tender lyrics that characterize Ukrainian nature. In Gladky's music the generalized image of the Ukrainian people is successfully reproduced.
"UKRAINIAN RHAPSODY", USSR, film studio IM. A.DOVZHENKO, 1961, b/w, 88 min. Melodrama. During the war, the wounded Anton is captured. Then the Soviet prisoner of war who escaped from the convoy is rescued by the organist Weiner, hiding in his house. When American troops come to the city, Andrei is not allowed to leave until all the details of his stay in Germany are clarified. Meanwhile, his girlfriend, Oksana Marchenko, a singer from a Ukrainian village, lost hope for his return. Days of peace have arrived. Oksana, the owner of a beautiful voice, performing at the World Vocal Competition, wins the Grand Prix. But victory does not bring her complete happiness. She cannot forget her beloved, with whom she was separated by the war. The girl returns to her village and meets Anton on the station platform.
https://cossacksmusic-ru.translate.goog/zore-moya-vechirnyaya.html?_x_tr_sch=http&_x_tr_sl=ru&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc///"Zore my evening party" – lyrics///My evening dawn, Come over the mountain, Let's talk quietly In captivity with you. Tell me, like a Sonechko sits behind the mountain, Like a merry girl near the Dnieper, Water lays. Like a wide socorina Vitya let loose ... And over the very water Willow was healed; Already on the waters she sent green winds, And on the winds the unbaptized children go.///Song to the words of the Little Russian poet Taras Shevchenko, who was not a Cossack by origin, but a serf. The history of the creation of the song "Zore my evening" requires a separate study. Apparently, the song is autobiographical, as far as this word can be called subjective lyrics, devoted mainly to emotional experiences, and to a lesser extent to specific events. References to "captivity" may indicate that the poems were written during the ten-year period of soldiery (military service in the Orenburg Territory), somewhere in the barracks or even in the guardhouse. If so, then the poem could not be included in the collection of the poet's early poems called "Kobzar", which was released before the exile in recruits (which followed, as you know, by the personal order of Emperor Nicholas I, angry at the poet for satirical poems that ridiculed the physical shortcomings of the empress). Very interesting mention in the verses "unbaptized children" swaying on a tree branch, like Pushkin's mermaid from the prologue to the poem "Ruslan and Lyudmila". Whom did Shevchenko mean by this expression, living in an almost completely Christianized country? If the same forest "evil spirits", then the song can be considered a kind of fairy-tale folklore, in the spirit of Gogol's terrible stories about witches and evil spirits. By the way, not knowing Gogol personally, Shevchenko addressed him with letters. It can be assumed that it was most likely about the indigenous inhabitants of the Orenburg region, who professed Islam, where fate threw the poet in 1847.
https://www.hamichlol.org.il/%D7%98%D7%90%D7%A8%D7%90%D7%A1_%D7%A9%D7%91%D7%A6%27%D7%A0%D7%A7%D7%95/// טאראס שבצ'נקו (באוקראינית: Тарас Григорович Шевченко; 9 במרץ 1814 - 10 במרץ 1861) היה צייר ומשורר אוקראיני, נחשב למייסד של הספרות האוקראינית ואף של השפה האוקראינית המודרנית. חייו///שבצ'נקו נולד בכפר בגוברניית קייב במשפחה של איכר - צמית של בעל אדמות מקומי. אימו נפטרה בשנת 1823 וכבר באותה שנה אביו התחתן שנית. אימו החורגת התייחסה לטאראס הצעיר בנוקשות והוא היה תחת השגחתה של אחותו. בשנת 1825 נפטר אביו והוא החל להתפרנס מעבודות מזדמנות שונות. בשנת 1829 הוא התחיל לשרת את בעל האחוזה, תחילה כעוזר טבח ולאחר מכן כעוזר כללי. בעל הבית ראה את משיכתו לציור ואישר לו ללמוד ציוד בווילנה. כאשר הם עברו לסנקט פטרבורג, הוא מסר את הנער להמשך לימודי ציור לאחד הציירים. בשנת 1836 במהלך שיעורי ציור בגן הקיץ הוא הכיר אמן אוקראיני ודרכו את אלכסיי ונציאנוב, קארל ברולוב וואסילי ז'וקובסקי. הם מיד ראו את הכישרון הגדול של הנער והיו מעוניינים לשחרר אותו מצמיתות. הדבר לא הלך בקלות כי הסכום שבעליו דרש תמורת זה היה גבוה מאוד. בסופו של דבר סוכם שקארל ברולוב יצייר דיוקן של ואסילי ז'וקובסקי שיימכר והסכום שהיה מוערך בכ-2500 רובל יועבר לבעליו של הנער תמורת שחרורו. הדבר נעשה ב-22 באפריל 1838. באותה שנה שבצ'נקו התחיל ללמוד באקדמיה לציור בסנקט פטרבורג.///שנות ה-40 של המאה ה-19///זה הייתה תקופת הזהר של שבצ'נקו. בשנת 1840 הוא פרסם ספר שירים "קובזר" (Кобзарь) ובשנת 1842 את השירה "היידמקים" (Гайдамаки).במהלך 5 שנים פורסמו ספרים נוספים.///במהלך הלימודים באקדמיה הוא קיבל מספר מדליות כסף על ציוריו - בשנת 1839 עבור ציור נוף, בשנת 1840 עבור ציור שמן ובשנת 1841 מדליה נוספת. בשנת 1842 הוא גם צייר תמונה שמן יחידה ששרדה עד היום. בשנת 1843, עם סיום לימודי ציור הוא חזר לאוקראינה. ///יש לציין שמבקרי ספרות רוסים לא אהבו את השירה האוקראינית. לעומת זאת באוקראינה שיריו התקבלו באהבה גדולה.///בשנת 1846, בהיותו בקייב הוא התקרב לקבוצת צעירים בעלי נטיות לאומניות ובדלניות אוקראיניות. חברי הקבוצה נעצרו וקבלו עונשים שונים. שבצ'נקו קיבל את העונש החמור ביותר - הוא נשלח לאורנבורג לשירות כפוי בצבא, תוך איסור לצייר ולחבר שירים. לפי השמועות, הקיסר היה תחילה מוכן להקל על עונשו של שבצ'נקו, אך כאשר נודע לו שבשיריו שבצ'נקו מציין את המגבלות הפיזיות של הקיסרית הוא התרגז מאד ולא היה מוכן לשמוע על ההקלות. הקיסר אמר "ייתכן ויש לו סיבות להיות נגדי, אך למה זה מגיע לאשתי".///שבצ'נקו סבל מאד בשרות הצבאי במבצר הקטן. הוא כתב מספר מכתבים לניקולאי גוגול, ואסילי ז'וקובסקי ואחרים. כולם ניסו לעזור לו, אך ללא הצלחה.///בשנת 1848 ו-1849 הוא השתתף בחקר ימת אראל והפיקוד המקומי הרשה לו לצייר תמונות נוף לצורכי מדע. כאשר דבר נודע לפיקוד הגבוה בסנקט פטרבורג הפיקוד המקומי קיבל הנחיות להפסיק את ההקלות. שבצ'נקו בעצמו נשלח למבצר קטן עוד יותר. במקום נידח זה הוא היה עד ל-2 באוגוסט 1857.///שחרור///בשנת 1857, מיד לאחר שחרורו הוא התחיל לנסוע לסנקט פטרבורג. לאור נטיות שלו לאלכוהוליזם בריאותו וכישוריו כבר לא היו כמו פעם. ניסיונותיו להקים משפחה לא עלו יפה. בשנת 1859 הוא נסע לאוקראינה והיה מעוניין לעבור לשם באופן קבוע. הוא נפטר ממחלת מיימת שהתפתחה עקב שתייה יתרה.
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