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עננים אפורים עגורי הסתיו-Осенние журавли
שיר רוסי-מילים: אלכסיי מיכאילוביץ' זמצ'וז'ניקוב-עברית: יוסף חרמוני-לחן: שיר עם-שירה: איזי הוד-עיבוד, נגינה, עריכה והקלטה: מאיר רז
עֲנָנִים אֲפֹרִים. עֲרָפֶל-סְתָו זוֹחֵל לוֹ וּקְרִיאַת-עֲגוּרִים מֵהָאֹפֶק קְרֵבָה וְהַלֵּב אֲלֵיהֶם מִתְרוֹמֵם וְעוֹלֶה לוֹ, מֵאַרְצִי הַקָּרָה, מֵעֵירֹם-עֲרָבָה. כְּבָר קָרוֹב מְעוֹפָם. קְרִיאָתָם כֹּה חַדָּה הִיא. כְּמוֹ בְּשׂוֹרָה בִּכְנָפָם, כְּמוֹ אֵלַי הֵם קוֹרְאִים. מֵהֵיכָן עֲגוּרִים, נְשָׂאוּכֶם כְּנָפַיִם וּלְאָן מְעוּפְכֶם? לֹא אֵדַע, עֲגוּרִים. הֲתֵדְעוּ אֶת הָאָרֶץ, בָּהּ שֶׁמֶשׁ דּוֹעֶכֶת, אֶת עַרְבוֹת-הַקָּרָה, סְחוּפוֹת הַיִּסּוּרִים. אֶת עֵירֹם-הַיְּעָרוֹת, שָׁם הָרוּחַ חוֹתֶכֶת, זֹאת אַרְצִי הַקָּרָה, זֹאת אַרְצִי, עֲגוּרִים. דִּמְדּוּמִים וְסַגְרִיר וְהָעֶצֶב תּוֹפֵחַ. אֲדָמָה עֲגוּמָה וּבָנֶיהָ קוֹדְרִים וְכוֹאֵב בַּנְּשָׁמָה וְהַלֵּב מִתְיַפֵּחַ. אוֹי, חִדְלוּ-נָא לָשׁוּט מֵעָלַי, עֲגוּרִים
Осенние журавли-Слова: Алексей Михайлович Жемчужников-Музыка: Народная Песня. Сквозь вечерний туман мне под небом стемневшим, Слышен крик журавлей всё ясней и ясней…,Сердце к ним понеслось, издалёка летевшим, Из холодной страны, с обнажённых степей. Вот уж близко летят и всё громче рыдая, Словно скорбную весть мне они принесли…,Из какого же вы неприветного края, Прилетели сюда на ночлег, журавли?...Я ту знаю страну, где уж солнце без силы, Где уж савана ждёт, холодея, земля, И где в голых лесах воет ветер унылый-, То родимый мой край, то отчизна моя. Сумрак, бедность, тоска, непогода и слякоть, Вид угрюмый людей, вид печальный земли…,О, как больно душе, как мне хочется плакать!, Перестаньте рыдать надо мной, журавли!...
הערות שכתב איזי הוד: עגורים [עגורי הסתיו], או, כאן תחת שמיים זרים, נכתב כפואמה, בשנת 1871 ומחבר המילים, ידוע בוודאות, אלכסיי מיכאילוביץ' ז'מצ'וז'ניקוב. המשורר נפטר בשנת 1908 ואז לשיר עדיין לא היה לחן. הוכחה מובהקת, באשר למלחין, לא קיימת, אך הזמרת האמינה אללה ניקולייבנה באיאנובה, שהייתה המבצעת העיקרית של השיר הזה, זכרה, שהלחן נכתב על ידי הזמר ושחקן, אלכסנדר ניקולייביץ' ווארטינסקי. דעה אחרת משערת, שהמלחין והפסנתרן הפולני, יז'י פטרסבורגסקי, הידוע בהלחנת השיר הפולני, טנגו סטלה ואף ליווה את, ווארטינסקי כפסנתרן, במסעות הופעותיו, הוא שחיבר את הלחן. אפשרות נוספת שהועלתה באשר למלחין היה המלחין, אוסקר דווידוביץ' סטרוק, שאף הוא שתף פעולה עם וורטינסקי. הכך גם המנצח והמוזיקאי, גאורגאס איפסילאנטי, שעבד עם הזמר לאשצ'אנקו. הקלטה הראשונה של השיר המולחן הייתה בשנת 1935. אך ברוסיה עצמה השיר הפך לנכסי צאן ברזל כעשרים שנים מאוחר יותר לאחר מותו של סטאלין ומשטרו. עד אז השיר היה מחתרתי והוקלט אף מחתרתית. השיר, הוא אחד מהשירים, שנהגו לשיר אזרחי רוסיה, שהוגלו או גלו, לארצות אחרות. כל כולו של השיר ומילותיו, הוא געגועים למולדת, באמצעות העגורים, שבמעופם מביאים את בשורת המולדת, לארצות ההגליה וההגירה. בשנת 1871, המשורר של השיר, אלכסיי מיכאילוביץ' ז'מצ'וז'ניקוב, הביא לגרמניה את רעייתו, שחלתה אז במחלה קשה ושהה שם תקופה ארוכה מאד ובחוסר תקווה להחלמתה. באחד הסתווים, ראה המשורר להקת עגורים, שכוון מעופה היה להבחנתו, מרוסיה לגרמניה. הוא חש געגועים, למולדת רוסיה וכתב את השיר. משהפך השיר לשיר געגועים, לגולי רוסיה, נעשו מאמצים שלטוניים רבים, שהשיר לא יתפרסם ואכן, השיר עד היום, מבוצע ונשמע מעט מאד. הקלטות ראשונות של השיר, עם הלחן, כבר היו בשנת 1930, לערך, אך, רק לאחר מותו של סטאלין [1953], השיר החל להישמע יותר וגם אז, לא הרבה, ובמסגרות סגורות, כמעט במחתרת, כי ריקודים סלונים, עדיין היו מוחרמים ולחן השיר, הוא בקצב הטנגו ורוחו של סטאלין עדיין שרתה. לשיר, יש גרסות מילים אחדות, שכולן מבוססות על המקור של, ז'מצ'וז'ניקוב, כאשר במקום ארצי הקרה, מציינים מקומות אחרים, דוגמה, עגורים מעל, קולימה, עגורים מעל אפגניסטן
קישור לשיר בשפת המקור
Link to the song in the original language
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
The history of this tango romance is as mysterious as the origin of nostalgia itself: as you know, it is able to master a person even during a short separation from his homeland and is indifferent to such compelling arguments as success.
Tacitly crowned by the rumor with a hymn of emigrants, the romance caused tears in each of the waves of emigration that covered Russia, and no wonder: he is sincere to the limit. Nevertheless, his authorship, as they say, raises questions. One thing is certain: the origins of the romance must be sought in the work of one of the “fathers” of Kozma Prutkov, Alexei Zhemchuzhnikov.
Weak health Alexei Mikhailovich after leaving the civil service for a long time lived abroad. He experienced painful separation from his homeland, as well as parting with his beloved wife - Elizabeth Dyakova. In general, it cannot be ruled out that his immediate reason for writing The Autumn Cranes in 1871 was not so much nostalgia for his homeland, although Alexei Mikhailovich was in southern Germany at that time, but sadness for the beloved Lizonka. And in 1875, also abroad, he survived her illness and death, after which he never married again.
But years passed, in 1908 Zhemchuzhnikov died, then the revolution broke out, and a stream of emigrants rushed from Russia - first a thin stream, then a powerful stream. Emigrant songs began to be born one by one ...
Researcher of the history of the Cranes romance Nikolay Ovsyannikov pointed out that the famous performer of the work Alla Bayanova was convinced that the author of the hit was Alexander Vertinsky himself. True, this version was not confirmed by any concrete facts, but this could well have been: Alexei Zhemchuzhnikov’s poem was well known, and Vertinsky could well remember him in an acute situation - say, in 1922, when he was poorly received on tour in Romania and even ended up behind bars for a while. Following a slightly redone poem, a light, unobtrusive melody came. In any case, the rhythm of the verse is, well, completely “vertical”! After some time in Poland, Vertinsky met with the brilliant musician Jerzy Petersbursky and even made him his touring accompanist. (Later they will record a record together.) Considering that performing a song in front of the Poles, who were friendly at that time, with the words “... under an alien sky, I, as an unwanted guest ...” was somehow not good, Vertinsky still showed it to Jerzy, and he was delighted with the topic and content, but he felt the soul of a professional - a hit! Having eaten the dog on light tunes, Jerzy, once blessed to be composed by Imre Kalman himself, turned her into a tango.
So, Nikolay Ovsyannikov, for example, suggests that this could happen in 1929, again in Romanian Bessarabia. If so, then the song now has a jubilee on the stage, 90 years! The situation with authorship was already difficult then. Vertinsky probably did not want to sing Zhemchuzhnikov’s poems in their original form, and Jerzy would hardly have agreed to become the author of poetry music with dubious copyright.
One way or another, for many years the listeners perceived the romance-tango as Vertinsky’s work on the words of Zhemchuzhnikov, although both were ambiguous.
Years passed, the song, as often happens, slowly changed: one word was replaced by another, even the cranes from autumn turned into spring ones.
In Romania, the romance was "circulated" by Alla Bayanova, who worked there for many years. According to some reports, in 1935 the song was first performed in a gramophone recording (performed by N. Shevtsov).
Well, when the song reached Moscow, it “shook up” again. It became a genuine restaurant hit in the 50s. It was propagated by the "underground", as was usual in those years, "on the bones", that is, on X-ray photographs. The voice of Petr Leshchenko was imitated on the recording, and it was imitated unsuccessfully. Apparently, this was done by Nikolai Markov from the ensemble “Jazz Tabachnikov”, a talented performer who recorded more than forty songs from the Leshenko’s repertoire.
Then the rewriting was a “business theme”: music lovers appreciated the recordings made on the bones, since among them there were also those that were not particularly welcomed by the authorities ...
Alexander Vertinsky, having returned home after many years of living abroad, did not recognize his own work ...
Perhaps it was his intelligence that did not allow him to fight for copyrights, or maybe some other considerations, but an indisputable fact - he no longer returned to the famous tango.
Cranes were sung by many. For example, it is amazing - Nikolay Nikitsky.
And in the 1970s, the romance brought to a new peak of popularity: “modernized” versions of the song appeared like “Cranes over Kolyma” and “Cranes of Afghanistan”. A new breath was breathed into the old hit "Pearl Brothers", and after them other chanson performers.
And they cry under it - still, daydreaming - who is about their homeland and home, who - about lost love.
But what about Jerzy Petersbursky? The fate of the graduate of the Warsaw Conservatory was amazing. He wrote music for films, operettas and tango, in September 1939 he was drafted into the army. Soon, Jerzy was in the territory that became part of the USSR, received Soviet citizenship and became Yuri Yakovlevich Petersbursky, and soon became the head of the State Jazz Orchestra of the Byelorussian SSR, which included some Poles. Then he wrote the waltz “Blue Handkerchief”. True, his most famous work was adapted by Alexander Tsfasman and is known to us as “The Burnt Sun”.
When the Great Patriotic War began, Petersbursky joined the formed Polish army of Anders and left the USSR with it in 1942. After the war, he left for Argentina, where he worked as bandmaster in the theater, in 1967 he returned to Poland, got married and gave birth to a son - Jerzy Jr. The composer died on October 7, 1979 and was buried in Warsaw.
The author of this widespread text, "Here is a stranger here ... remains unknown," the author of the music, too.
But the original, on which all the texts are based, is precisely known! This poem is "Autumn Cranes" by the Russian poet Alexei Mikhailovich Zhemchuzhnikov, who was born in Pochep in 1821. He wrote a poem on October 28, 1871 in the town of Jugenheim, near the Rhine. In it precisely the melancholy and pain of the soul is precisely conveyed - in that state was then Alexei Mikhailovich. He brought his beloved, seriously ill wife to Germany for treatment; for a long time he was outside Russia. There was no hope of salvation. Autumn. Yearning. And suddenly - cranes! They fly to the south "from a cold country", from its homeland. The poem ends with lines that cannot be thrown away, all the options are built on them:
“Oh, how painful my soul is, how I want to cry!
Stop crying over me, cranes! ”
And here is the text of the original poem
“Autumn cranes” by A. M. Zhemchuzhnikov:
Through the evening fog I got dark under the sky
The cry of cranes is heard clearer and clearer ...
Heart rushed to them, from afar flying
From a cold country, from the naked steppes.
They’re flying close and sobbing louder
Like a mournful message they brought me ...
What kind of land are you from?
Arrived here for the night, cranes? ..
I know that country where the sun is already without power,
Where is the shroud waiting, cooling, the earth
And where a dull wind howls in the bare forests, -
Either my beloved land, then my homeland.
Dusk, poverty, longing, bad weather and slush,
Kind of moody people, kind of sad land ...
Oh, how painful my soul is, how I want to cry!
Stop crying over me, cranes! ..
October 28, 1871
Jugenheim, near the Rhine
A.M. Zhemchuzhnikov.
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.
Gray clouds, Autumn cranes-Russian song-Lyrics: Alexey Mikhailovich Zmachozhnikov-Hebrew: Yosef Hermoni-Melody: Folk song-Singing: Izzy Hod-Arrangement, music, editing and recording: Meir Raz.
Notes written by Izzy Hod: Cranes [autumn cranes], or, here under a foreign sky, was written as a poem, in 1871 and the author of the words is known for sure, Alexey Mikhailovich Zhemchuzhnikov. The poet died in 1908 and the song still had no melody. Definite proof, as to the composer, does not exist, but the reliable singer Alla Nikolayevna Bayanova, who was the main performer of this song, remembered that the composition was written by the singer and actor, Alexander Nikolayevich Vertinsky. Another opinion speculates that the Polish composer and pianist, Jerzy Patersburgski, who is known for composing the Polish song, Tango Stella and even accompanied, Vartynsky, as a pianist on his concert tours, composed the piece. Another possibility that was raised as to the composer was the composer, Oskar Davidovich Struck, who also collaborated with Vertinsky. So did the conductor and musician, Giorgas Ipsilanti [or, Ypsilanti], who worked with the singer, Pyotr Konstantinovich Leshchenko, who sang the song too. The first recording of the composed song was in 1935. But in Russia itself the song became the property of Inalienable assets, about twenty years later after the death of Stalin and his regime. Until then the song was performed underground and was even recorded underground. The song is one of the songs used to be sung by Russian citizens who were exiled in Russia or exiled to other countries. The whole of the song and its words, is longing for the homeland, through the cranes, which in their flight bring the good news of the homeland, to the lands of exile and immigration. In 1871, the poet of the poem, Alexei Mikhailovich Zhemchuzhnikov, brought his wife to Germany, who was then seriously ill and stayed there for a very long time without hope for her recovery. In one of the autumns, the poet saw a flock of cranes, whose flight direction was to his notice, from Russia to Germany. He felt longing for the Russian homeland and wrote the poem. When the song became a longing song, for the exiles of Russia, many governmental efforts were made to prevent the song from being published, and indeed, the song was performed and heard very little to this day. The first recordings of the song, with the melody, was already in 1930, approximately, but, only after Stalin's death [1953], the song began to be heard more and even then, not much, and in closed settings, almost underground, because ballroom dance were still banned and the melody of the song is in tango rhythm and Stalin's spirit still existed at that time. The song has several versions of the words, all of which are based on the source of Zhemchuzhnikov, when instead of my cold country, other places are indicated, for example, cranes above Kolyma, cranes above Afghanistan. The literal description of the words of the song is as follows, The clouds are in the gray sky and the autumn mist creep down. On the horizon there is the call of approaching cranes and in the hearts of immigrants there are already sounds from the cold land and the wide prairies. The flight of the cranes is already close, their call is already heard sharply. As in a row in their wings, as they call to me, but where the cranes came from and where they fly to I do not know yet. Maybe you came from the land where the sun that once shone and is now fading, where even the warm prairies are getting colder as if they are suffering and in the forests the wind is cutting the trees, if from there you came, then you came from my country. You came from the twilight of darkness and sadness growing with them, the ground there is already gloomy and its sons are gloomy to and sore in the soul and the heart sobs. So maybe you better stop flying over me, cranes.
The romance "Cranes", which many know as "Here under the sky of a stranger...", has long become a hymn of nostalgia-a feeling that is not for nothing called a deadly disease. The history of this romance-tango is as mysterious as the origin of nostalgia itself: as you know, it is able to possess a person even during a short separation from his homeland and is indifferent to such strong arguments as success. Secretly crowned with the rumor of the anthem of emigrants, the romance caused tears in each of the waves of emigration that covered Russia, and no wonder: it is sincere to the point of transcendence. Nevertheless, its authorship, as they say, raises questions. One thing is certain: the origins of the romance should be sought in the work of one of the "fathers" of Kozma Prutkov, Alexei Zhamchuzhnikov. Poor health Alexei Mikhailovich after leaving the civil service for a long time lived abroad. Separation from his homeland, he experienced painfully, as well as parting with his beloved wife-Elizabeth Dyakova. In general, it cannot be ruled out that the immediate reason for writing him in 1871 "Autumn Cranes" was not so much nostalgia for his homeland, although Alexei Mikhailovich was at that time in the south of Germany, but sadness for the invisible Lizonka. And in 1875, also abroad, he survived her illness and death, after which he never married again. But years passed, in 1908, Zhemchuzhnikov was gone, then the revolution broke out, and the flow of emigrants rushed from Russia-first in a thin trickle, then in a powerful stream. Emigrant songs began to be born one by one...The researcher of the history of the romance "Cranes" Nikolai Ovsyannikov pointed out that the famous performer of the work Alla Bayanova was convinced that the author of the hit was Alexander Vertinsky himself. No specific facts, however, this version was not confirmed, but it could well be: the poem by Alexei Zhemchuzhnikov was well known, and Vertinsky could well remember him in an acute situation-say, in 1922, when he was poorly received on tour in Romania and even found himself behind bars for some time. Following the slightly altered poem came a light, unobtrusive melody. In any case, the rhythm of the verse-well, completely "Vertinskaya"! Once in Poland after some time, Vertinsky met the bright musician Jerzy Petersbursky and even made him his touring accompanist. (They would later record a record together.) Considering that to perform in front of friendly Poles at that time a song with the words"...under the sky of a stranger I, as an unwanted guest..." somehow not good, Vertinsky still showed it to Jerzy, and he was delighted with the theme and content, and the soul of a professional felt-a hit! Having eaten a dog on light melodies, Jerzy, once blessed to compose by Imre Kalman himself, turned it into a tango. But Vertinsky performed it much later. So, Nikolai Ovsyannikov, for example, suggests that this could have happened in 1929, again in Romanian Bessarabia. If so, then the song now has an anniversary of the appearance on the stage, 90 years! The situation with authorship even then was not easy. Vertinsky probably did not want to sing Zhemchuzhnikov's poems in their original form, and Jerzy would hardly agree to become the author of music for poems with dubious copyright. Anyway, for many years the romance-tango was perceived by listeners as a work of Vertinsky on the words of Zhemchuzhnikov, although both were ambiguous. Years passed, the song, as it often happens, slowly changed: some words were replaced by others, even cranes turned from autumn to spring. In Romania, the romance was "replicated" by Alla Bayanova, who worked there for many years. According to some reports, in 1935 the song was first performed in a gramophone recording (performed by N. Shevtsov). Well, when the song reached Moscow, it was "shaken" again. It became in the 50s a genuine restaurant hit. It was multiplied by "underground workers", as was the result in those years, "on the bones", that is, on x-rays. On the recording, the voice of Pyotr Leshchenko was mipped, and it was unsuccessfully mimated. Apparently, this was done by Nikolai Markov from the ensemble "Jazz Tabachnikov", a talented performer who recorded more than forty songs from the Leshchenkov repertoire. Then the re-recording was a "business topic": music lovers appreciated the recordings made "on the bones", since among them there were those that were not particularly welcomed by the authorities...Alexander Vertinsky, returning after many years of life abroad to his homeland, his own work no longer recognized...Perhaps it was his intelligence that did not allow him to fight for copyright, and maybe some other considerations, but the indisputable fact is that he never returned to the famous tango. "Cranes" was sung by many. For example, amazingly-Nikolai Nikitsky. And in the 1970s, the romance brought to a new peak of popularity: there were "modernized" versions of the song like "Cranes over Kolyma" and "Cranes of Afghanistan". New breath was breathed into the old hit "The Pearl Brothers", and after them and other performers of chanson. And they cry under it-until now, dreaming-who about the homeland and home, who - about the lost love...What about Jerzy Petersburski? The graduate of the Warsaw Conservatory fate was amazing. He wrote music for films, operettas and tango, in September 1939 he was drafted into the army. Soon Jerzy was in the territory that became part of the USSR, received Soviet citizenship and became Yuri Yakovlevich of Petersbur, and soon headed the State Jazz Orchestra of the Byelorussian SSR, which included only Poles. Then he wrote the waltz "Blue Handkerchief". His most famous, however, earlier work was adapted by Alexander Tsfasman and is known to us as "The Burnt Sun". When the Great Patriotic War began, Petersbursky joined the emerging Polish army of Anders and together with it in 1942 left the USSR. After the war, he went to Argentina, where he worked as a Kapellmeister in the theater, in 1967 he returned to Poland, married and gave birth to a son-Jerzy Jr. The composer died on October 7, 1979 and is buried in Warsaw.
The song is based on the poem by Alexei Zhemchuzhnikov "Autumn Cranes", written in 1871. It appeared no later than the mid-1930s (its recording on the record by N. Shevtsov dates back to no later than 1935). In the early 1950s (after Stalin's death?) it was widely used in the USSR on "ribs"-rtisanal plates made of used X-ray photographicfilm. They were made underground, sold on pushers-it was a "people's response" to the fight against formalism: in those years, romances, jazz, foxtrots, etc. were officially banned and did not appear on state records. "Ribs" withstood a maximum of 20-30 reproductions. "Cranes" for ribs was performed by Nikolai Markov, soloist of the former "Jazz of Tobacco", and the record was sold as a phonogram of Pyotr Leshchenko. In total, Markov recorded 40 songs "from Leshchenko's repertoire" on his ribs. Moreover, the real Pyotr Leshchenko (1898-1954) never recorded on the record "Cranes" and never performed them. On the Internet, the song meets with the authorship of Leshchenko, sometimes even with an indication of the authorship of the music of the "king of tango" Oscar Strok or conductor Georges Ypsilanti who worked with Leshchenko, but these versions of authorship are refuted. In the USSR, "camp" versions of the song arose, including "Cranes over Kolyma". There are also later alterations, for example, "Cranes of Afghanistan". There are other popular songs with the title "Cranes": Cranes (It seems to me sometimes that the soldiers..., J. Frenkel-R. Gamzatov, trans. with avar. N. Grebnev) Cranes (Flying high above the clouds..., V. Muradeli-P. Barto).
The text is based on the poem by A. Zhemchuzhnikov "Autumn Cranes", written in 1871. The melody and text are reproduced from a record on a gramophone record, performed by N. Shevtsov no later than 1935.
ORIGINAL POEM, Autumn cranes, Alexey Zhemchuzhnikov. October 28, 1871 Jugenheim, near the Rhine Russian poetry xix-early XX century. Alexey Mikhailovich Zhemchuzhnikov, a poet from an old noble family, was born on February 10, 1821 in the town of Pochep, Chernihiv province. He graduated from the St. Petersburg School of Jurisprudence, and then served as an official in the Senate. In 1858 he retired and devoted himself to literary activity. In the 50s-60s he collaborated in sovremennik, was published in Iskra (1859-1873) and Nekrasov's Otechestvennye Zapiski. One of the creators of the image of Kozma Prutkov. Died in Tambov March 25, 1908 V.M. Soldatov.
CRANES PERFORMED BY NIKOLAI MARKOV AND "JAZZ TABACHNIKOV". From the site Blatata.com, With the song "Cranes" in the heart and memory I have been living for almost half a century. I first heard it in 1955 from a record "on the ribs". I remember well how sympathetically we, the young guys, perceived nostalgia for the Motherland, as much as a tear of a bouncer...And the nostalgia was deep-for Russia, which existed in our worldview only as the old name of the USSR. After all, we were also torn from our parents' nests, lived in the dormitory of the technical school, missed relatives and friends. On the record by hand was written "Leshchenko". There were various rumors about him then-as if he worked for the Germans (he sang for them in a restaurant) and secretly helped the underground workers of Odessa. The grandson and his friends listen to M. Krug's recording "Kolshchik" many times in a row, and for us the same phantom was the song "Cranes". It was a watershed and anxious time. In March 1953, Comrade Stalin died. When the three-day mourning was announced on the stanich radio in the morning and that the schools would not work, I jumped up with joy on the bed and shouted "Hooray!". My father and mother yelled at me, explained something. Adults everywhere were fenceless, and some, including my parents, were crying. And so it went on for many days. I realized that a very serious event had happened. The past was gone, and the future caused anxiety-anxiety about tomorrow. Somehow it will all work out?...In the same year, while leaving school, I saw on the street a trampled photographic portrait of a framed man with glass shattered to pieces. Nearby, the wind carried scraps of half-burned papers with the edges of the portrait. And one portrait, like a piece of paper from the restroom, was crumpled and stained with shit. At home, I asked my father and mother what kind of portrait it was, who was photographed on it? They answered: "Lavrentiy Beria". "Was he bad?"-"Scary. You don't talk to anyone about it..."...I did not immediately miss that the record with the song "Cranes" was underground. It and others are the same, with ribs on the lumen, after playing hid. And it sounded and sounds in my memory and without a gramophone (pay attention to the places in which the performer "stretches"). Here under the sky of a stranger-I as a guest is unwanted, I hear the cry of cranes,-flying away in the way. Almost a year later, a letter came from a certain Slava: "In a rather strange way I got to the forum and was surprised that there are still people who are interested in what I am, i.e. music of the 50s, or even earlier years. The year is about 1953-54. I MYSELF, being a boy, bought from a speculator in GUM, immediately after its opening, therefore, after the death of Stalin. It was a flexible plate "on the edges". So, the quality is appropriate. Then it was rewritten on a Soviet tape recorder, and recently I overtook it into MP-3. " Slavoy turned out to be a well-known cartoonist Vyacheslav SYSOEV, a Muscovite born in 1937, who served two years in the Arkhangelsk TIC in the 80s for participating in the "underground" and has been living in Germany since 1989. Author of thousands of drawings, two books of memoir-fantastic prose, editor of the literary and artistic almanac "Island", member of the Russian PEN Center. Since December 1 of this year, his book "Walk Quietly, Speak Quietly" is exhibited in Moscow at the book fair "Nonfiction" in the Central House of Artists on Krymsky Val. Until 2001, I was sure that the song "Cranes" was recorded by Pyotr Leshchenko, as it was written on an X-ray. However, from the book of B.A. Savchenko. Retro variety.-Moscow: Iskusstvo, 1996, p. 220 learned that this is not the case. I quote: "It turned out that in the postwar years in Moscow on the wave of popularity of Peter Leshchenko successfully flourished a whole underground company for the production and distribution of records "under Leshchenko". The backbone of the company was the so-called "Jazz tobacco" (there at one time worked and composer Boris Fomin) and his soloist Nikolai Markov, whose voice was almost identical to the voice of the famous singer. In a short time, forty works from Leshchenko's repertoire were recorded, including the "Cranes" that had nothing to do with him. Records were distributed mainly in Ukraine, in Moldova...One musician from the "Jazz of Tobacco" said on this occasion as follows: "We take a suitcase of records there, back-a suitcase of money"...There was a complete confusion: officially the records of Pyotr Konstantinovich Leshchenko were not sold in stores, because they were not released, and the singer's voice sounded in almost every house. Original or fake, guess what." As a result of the ensuing correspondence, V. Sysoev sent me a recording of the song "Cranes" in the MP-3 format. He ended his letter with a question: "Leshchenko, indeed, according to domestic collectors, never sang "Cranes". And Vertinsky did not sing. Then it is simply unclear why in the Stalin years this tango was so popular? Is it just from two entries on the "ribs"? It's a reasonable question. I think that N. Markov's recording of the song "Cranes" among forty others from the repertoire of P. Leshchenko, indicates that the musicians of "Jazz Tobacco", as well as unknown Soviet officers who liberated Eastern Europe, had either that record of the 40s with his recordings, or that restaurant and concert recording "At Maxim 37", which was told by A.G. Yatskovsky in an interview "The local span avoided me...". Compared to Yatskovsky's lyrics, the song is elegantly edited to be perceived here rather than there, and sung without repeating the lines, presumably to reduce the time it sounds. I remember that in "Night Taxi" Alla Bayanova told A. Frumin that she, when she sang "Cranes", carefully conveyed the intonation of the king of Russian tango. And finally, the long-awaited meeting with the song of post-war youth, rewritten by my son on CD-RW. I listen a few times. Yes, this is the same entry-the text coincides with the one that I have in my memory, with the characteristic "stretching" of unstressed vowels. But the voice is not at all a sempler of Pyotr Leshchenko, it resembles the intonations of V. Kozin, then A. Vertinsky. Soft transitions in piano are from Kozin, and the declamation manner of singing the first words of couplets with light grassing is similar to the manner of Vertinsky. But the voice and skill of performance are independent and extraordinary. For example, the recording of "Cranes" performed by the ensemble "Pearl Brothers" from their first album does not stand comparison. And this means that it makes sense to search, restore and republish on modern sound carriers recordings of Nikolai Markov-an original Moscow singer of the postwar years, involved in the Russian chanson.-Malakhovka, 03.12.2004.
https://radioshanson-ru.translate.goog/news/istoriya_pesni____zhuravli__zdes__pod_nebom_chuzhim?_x_tr_sl=ru&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc///Song history: "Cranes (Here under a strange sky...)"A poignant composition about homesickness. Lyrics: Alexey Zhemchuzhnikov ///In addition to "Cranes" by Jan Frenkel and Rasul Gamzatov, there is another popular song with the same name. To avoid confusion, it is often called by the first line - "Here, under the sky of a stranger." This is one of the most famous nostalgic songs. The text was written back in 1871 by Alexei Zhemchuzhnikov.///The cousin of Alexei Konstantinovich Tolstoy, Zhemchuzhnikov is mainly known as one of the creators of the literary hoax called Kozma Prutkov. However, the Zhemchuzhnikov brothers dabbled in satirical experiments in their youth - the later work of Alexei Mikhailovich was permeated with lyrics. By the time of writing the poem "Autumn Cranes" (as it was originally called), Zhemchuzhnikov had lived abroad for almost ten years and was familiar with bouts of nostalgia firsthand. Zhemchuzhnikov died in 1908, during his lifetime the poem was not set to music. When "Cranes" became a song, it is not known exactly. According to some information, this happened in the early 30s, and the first gramophone recording performed by N. Shevtsov dates back to 1935.///However, in the USSR, this composition gained fame only twenty years later, when, after the death of Stalin, the population got the opportunity to semi-underground distribute handicraft records “on the ribs” (that is, on x-rays) without fear of being subjected to severe punishment. In the mid-50s, these recordings were valued by music lovers more than officially released records, since they contained a repertoire that was often not approved by Soviet artistic councils. The leaders of the unofficial "charts" were the songs of Pyotr Leshchenko, already deceased by that time. He was also credited with the performance of "Cranes", and the composer sometimes indicated the "king of tango" Oscar Strok, with whom Leshchenko collaborated a lot.///Whether Pyotr Leshchenko actually sang "Cranes" is not known for certain, but he definitely never recorded them. On the "ribs" they distributed a recording performed by Nikolai Markov from the Jazz Tabachnikov ensemble. Markov then recorded more than forty songs from Leshchenko's repertoire, and the record business sharks sold them as works performed by Petr Leshchenko. “We are taking a suitcase of records there, and a suitcase of money back,” one of the Jazz Tabachnikov musicians described the “distribution” mechanism.///Connoisseurs, of course, could distinguish the voice of Leshchenko from the voice of Markov, in whose manner the influence of Alexander Vertinsky and Vadim Kozin was also traced. But there were very few experts in the country who heard Peter Leshchenko in the original, and the quality of handicraft records left much to be desired.///By the way, if the issue with the performer of "Cranes" was eventually resolved, then the author of the music was never found. There is no evidence that it could be Oscar Strok, so academic publications report that the melody belongs to an "unknown author". Other versions of the songs were also written to the music of the Cranes, for example, Cranes over the Kolyma or Cranes of Afghanistan.///In the 70s, the song experienced a new surge in popularity, as underground sound recording reached a new level: reel-to-reel and then cassette recorders appeared.///“Here under a strange sky” was then recorded by the “Pearl Brothers”, and then by many other chanson performers.
https://libryansk.ru/tajna-odnogo-stihotvoreniya-k-200-letiyu-am-zhemchuzhnikova////he secret of one poem (To the 200th anniversary of A.M. Zhemchuzhnikov)///"Stop crying over me, cranes! .."///Emigration sobbed from this song///...I sort through my cherished old notebooks of the school time, where I wrote down the most favorite poems of my youth. And I see in what intricacies from different eras and poetic currents my poetic taste was formed: Shakespeare here is side by side with S. Yesenin, G. Heine with E. Asadov, F. Schiller with A. Blok, Robert Burns with Veronika Tushnova. Yes, like this: in the struggle of obvious literary opposites, the formation of my vision of the literary world went on ...///And somewhere in the middle of the notebook, my eyes are attracted by these expensive and poignant poetic lines, which later became for us - the yard guys of the 60-70s of the 20th century - one of the sincerest. It was not just a poem, but also our most beloved song at that time, which we sang for an endlessly long time in the evenings with a guitar in the porches or in the large courtyards of our childhood. Then we did not know who its author was, but these lines sunk into our hearts for life. And only much later did the knowledge come that we were already singing one of the many versions of the poem, which originally looked exactly like this: Through the evening fog to me, under the darkened sky, The cry of the cranes is heard more and more clearly ...The heart rushed to them, flying from afar, From a cold country, from naked steppes. They are flying close and, sobbing louder and louder, They brought me sad news...From what unfriendly land are you Arrived here for the night, cranes?.. I know that country where the sun is without power, Where is the shroud waiting, getting colder, the earth And where in the bare forests the despondent wind howls ,Either my native land, or my homeland. Twilight, poverty, melancholy, bad weather and slush, The look of the gloomy people, the look of the sad earth...Oh, how it hurts my soul, how I want to cry! Stop crying over me, cranes!..///October 28, 1871///Jugenheim, near the Rhine///... So, February 22, 2021 marks the 200th anniversary of the birth of the author of these heartfelt and sad lines. And many do not even suspect that our fellow countryman Aleksey Mikhailovich Zhemchuzhnikov , a poet, from an old noble family, who wrote them, was born on February 23, 1821 in the town of Pochep in the then Chernigov province, and now it is the regional center of our Bryansk region!///Speaking about our today's hero of the day, as usual, we will accept the abbreviation for him in this article - A.Zh.///It was he who created such, for example, philosophical life lines: Not out of love for my homeland alone, Not only for thoughts before the world stage, I just want to live for life, For earthly blessings. For earthly joy. (About life) Here is a small autobiographical note about our today's hero:///His father, Mikhail Nikolaevich Zhemchuzhnikov, was at first a military man, then a major official, a senator. Mother - Olga Alekseevna, nee Perovskaya, belonged to the well-known Razumovsky-Perovsky family, which gave rise to major political figures and writers. Her brother Aleksey Alekseevich Perovsky is known as the writer Anthony Pogorelsky - the author of the fairy tale "The Black Hen, or the Underground Inhabitants" that made him famous, the son of her sister - Alexei Konstantinovich Tolstoy. Thus, Alexei Mikhailovich Zhemchuzhnikov was a cousin of our great countryman writer! And in our memory, he, first of all, remained as a co-author of Kozma Prutkov, the director of the Assay Chamber, who became one of the immortal literary masks, a satirical character, a hoax that won wide public love! In the book world it is difficult to name such a case,///A.Zh. studied at the First St. Petersburg Gymnasium, and then at the School of Law. After graduating from the College, he served in the department of the Senate, in the State Chancellery. But the sovereign's service to him, like A.K. Tolstoy was not happy.///The first works signed by Kozma Prutkov appeared in the Sovremennik magazine in 1854. These were epigrams, fables, aphorisms. And soon the fruits of Prutkov's thoughts, written as literary jokes, went for a walk around the world.///Alla Bayanova.
https://dzen.ru/media/id/5ca1621f134d6700b2a469fb/istoriia-sozdaniia-pesni-zdes-pod-nebom-chujim-60ddc39f9d67ac12b2733001///The history of the creation of the song "Here under a strange sky"///July 6, 2021///16K read///The song "Cranes" ("Here under a strange sky") is considered one of the most nostalgic and "immigrant" compositions. Until now, well-known researchers and popular musicians hold different points of view about the authorship of the melody and text of this composition. But they agree that the poem "Autumn Cranes", written 150 years ago by Alexei Mikhailovich Zhemchuzhnikov, one of the authors of a literary hoax named "Kozma Prutkov", was taken as the original of this song.///Alexey Zhemchuzhnikov brought his seriously ill wife Elizaveta Alekseevna to Germany for treatment. For more than ten years they struggled with her serious illness, but there was no hope for recovery. On one of the cloudy autumn days of 1871, the desperate poet saw in the sky a crane wedge flying south. Then the lines of this poem appeared, permeated with melancholy, pain of the soul, and nostalgia: "They are flying close, and weeping louder and louder, as if they brought sad news to me ..."///Alexei Mikhailovich Zhemchuzhnikov///It is also not known for certain in what year "Cranes" become a song, the text of which is constantly changing. According to some reports, the music for these poems appeared in the second half of the 1920s, and Alexander Vertinsky, who sang "Cranes" in Romanian Bessarabia in 1929, became its author and first performer. Alla Bayanova, who also performed this composition, insisted on this version. But Alla Nikolaevna could not confirm the authorship of Vertinsky.///In various sources, composers are called the authors of the music of this song: Jerzy Petersbursky, Oscar Strok, Mark Fradkin. And its first performers include N. Shevtsov, who recorded this composition in 1935, and Olga Kravchenko. The gramophone record with her performance was released by the Kharkov plant "Harplastmass" in the 40s. It should be noted that the singer's version differs significantly from all versions of this tango.///This composition gained wide popularity in the early fifties, when handicraft plates "on the ribs" (on x-rays) began to spread. In Moscow, there was even an underground company for the release of recordings of banned songs. The compositions performed by Pyotr Leshchenko, who was banned in Russia, were especially popular. He was also credited with the authorship and the first performance of "Cranes". But this is fiction. The singer's widow, Vera Belousova-Leshchenko, claimed that Pyotr Konstantinovich not only did not sing this song, but did not even know about its existence. And the indication of his name on the records was only a commercial move and advertising. In fact, the composition was reproduced from Shevtsov's gramophone record, and singer Nikolai Markov also performed it in a very similar manner.///The song experienced a new surge in popularity in the 70s. At this time, the composition is being recorded by the "Pearl Brothers". In their performance, it comes out under the name "Crane Tango".///Also, the song becomes popular and performed by Arkady Severny.///"Cranes" at different times were performed by Nikolai Nikitsky, Iosif Kobzon, Vladimir Markin, Mikhail Shufutinsky, Yana Gray, Alexander Malinin and others.///Thus, there is no consensus about the authorship, melody and the first performer of this tango. There are also many text options. Unknown co-authors changed the words, adjusting them to certain circumstances. So, for example, "Cranes over the Kolyma" and "Cranes of Afghanistan" appeared. But basically, with rare exceptions, all versions of the song begin in the same way with the words: “Here, under a strange sky,” and they are all filled with nostalgia, homesickness, like the poem by Alexei Mikhailovich Zhemchuzhnikov.
https://lera--komor-livejournal-com.translate.goog/1613927.html?_x_tr_sl=ru&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc///RETRO MUSIC. HISTORY OF THE SONG "CRANES" ("HERE UNDER THE SKY AN///ALIEN...")///May. Sunday, 20th, 2016 at 8:45 AM///Here, under a strange sky, I'm like an unwanted guest, I hear the cry of cranes flying away into the distance. The heart beats faster, caravans of birds fly. I escort them to dear lands. Here they are getting closer and louder sobs. They brought me sad news. What are you from a distant land Arrived here for the night, cranes? Rain, cold, fog, bad weather and slush, Kind of sad people from a gloomy land. Oh, how it hurts my soul, how I want to cry... Stop crying over me, cranes! They will sweep past mournful crucifixes, Past ancient churches and big cities. And they will arrive, they will open their arms Young spring and my Russia…///Performed by Alik Berison - the legendary Odessa performer of forbidden songs///The song is based on Alexei Zhemchuzhnikov's poem "Autumn Cranes", written in 1871. Appeared no later than the mid-1930s (its recording on the disc by N. Shevtsov dates back to no later than 1935).///In the early 1950s (after Stalin's death?), it became widely used in the USSR on "ribs" - handicraft plates from used X-ray film. They were made clandestinely, sold at the flea market - this was the "popular response" to the fight against formalism: in those years, romances, jazz, foxtrots, etc. were officially banned and were not released on state records. "Ribs" withstood a maximum of 20-30 plays. "Cranes" for the ribs was performed by Nikolai Markov, the soloist of the former "Jazz of Tobacco", and the record was sold as a phonogram by Peter Leshchenko. In total, Markov recorded 40 songs "from Leshchenko's repertoire" on the ribs. Moreover, the real Petr Leshchenko (1898-1954) never recorded "Cranes" on the disc and never performed them.///On the Internet, the song is found with the authorship of Leshchenko, sometimes even indicating the authorship of the music by the "king of tango" Oscar Strok or conductor Georges Ypsilanti, who worked with Leshchenko, but these versions of authorship have been refuted.
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