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התרגומים לאנגלית נעשו באמצעות המנוע "מתרגם גוגל" והתרגום הועתק לאתר בצורתו המקורית ללא עריכה נוספת
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YAMSHCHIK, DO NOT CHASE HORSES. Words of N. Ritter Music by J. Feldman. Response to the romance "Goni, Yamshchik" (words by K. Ostapenko, music by V. Semenov). The words were written no later than 1905. The music was written no later than 1914. There is an answer to the romance-"Pitman, do not chase horses!..." (music by Y. Feldman, no later than 1914, lyrics by N. Ritter, <1905>).
"Yamshchik, ne goniy horses" is a Russian romance created in the early XX century. The lyrics were written by the poet Nikolai Alexandrovich (or Alekseevich) von Ritter in 1905 and set to music by composer Yakov Lazarevich Feldman in 1914. He became known to the general public since 1915 as a response to the romance "Chase, Pitman!". It gained great popularity in the 1910s in Russia. The words of the future romance "Pitman, do not chase horses" were written by the famous poet Nikolai Alexandrovich (or Alekseevich) von Ritter in Russia at the beginning of the XX century in 1905 as a poem that, according to the author's plan, is the answer to the romance "Goni, yamshchik!". This poem became widely known later, when it was embodied in the romance of the composer Yakov Lazarevich Feldman (1884-1950). Researcher of Russian romance Elena Ukolova writes that there is no way to say unequivocally where Yakov Feldman met Nikolai von Ritter. According to Ukolova, this could happen in the Moscow publishing house yambora. As a result, by early 1915, Feldman had created two romances based on Ritter's poems. One of them was "Pitman, don't chase horses!". Ukolova writes that the romance appeared in a timely manner, because it coincided with the mood that was in society. The musical version of the romance was dedicated by Feldman to the Russian singer Agrippina Sergeevna Granskaya,at that time Feldman's wife. Feldman and Granskaya met in Voronezh in January 1913, and since then for 15 years Feldman devoted all his musical works to her In 1914, the notes and text of the romance were published in the series "Gypsy Life" by the publisher Nikolai Davingof, indicating the dedication of Granskaya and as a response to the romance "Goni, Yamshchik!". In 1915, the first version of the song "Pitman, do not chase horses" belonged to Granskaya,which brought her wide fame as a singer. Subsequently, the male version of the performance of the romance established. Soon after its appearance, the romance gained great popularity. In 1916, the Russian director, theater artist and screenwriter Evgeny Bauer shot a silent feature film with the same name: "Pitman, do not chase horses",which was a kind of adaptation of the romance. (That film has not survived to this day.) In 1920, in Soviet Russia, romance, according to researcher Rita Bolotskaya on the pages of the newspaper "Sobesednik", was allegedly banned "as an anti-class phenomenon and incompatible with the ideals of communism" and "deleted from all repertoires". .However, she goes on to write: "There was probably not a single recording studio that did not pay tribute to the "Pitman". Even the ban of Soviet power could not block the oxygen to this romance, it was still sung, and the words and music were sincerely considered folk". And years later, the romance "Pitman, do not chase horses" returned to the audience, taking a place in the same row with the most popular vocal works. The author of the text of the romance Nikolai von Ritter, according to some publishers, after the revolution of 1917 left Russia. However, this statement is controversial, since his other biographers even give the exact address at which he still lived in Kievin early 1919: in the house No. 26 on Bibikovsky Boulevard. But more recent data on it are not found. And the author of music Yakov Feldman remained in Soviet Russia. In 1925, when the first performer of the romance Agrippina Granskayadied, J. L. Feldman published a series of his last romances with a dedication to his deceased wife. The composer himself worked as a musician and conductor in different cities and died in 1950.
The Yar (Russian: Яр, from French "yard") was a restaurant and theatre in 19th Century Moscow frequented by Pushkin, Tolstoy, Chekhov and Maxim Gorky. It was famous for its Sokolovsky gypsy choir. The Yar ran from 1826 to 1925 on the street known as Kuznetsky Most. The second Yar was opened on the St. Petersburg chaussée built by Adolf Erichson 1909-1913. The restaurant became popular among Russian elite. It was visited by Leonid Andreev, Konstantin Balmont, Anton Chekhov, Maxim Gorky, Alexander Kuprin, Savva Morozov, Grigory Rasputin, and Fyodor Shalyapin. The current Yar is in the Sovietsky Hotel on Leningradsky Prospect.
Pitman, don't chase horses. The history of the creation of this work is amazing! A chance meeting in the spring of 1913 of the Russified German poet with a novice composer, a Jew by nationality, in one of the Moscow publishing houses contributed to the birth of the Russian romance "Yamshchik, do not chase horses. The text of his poem about the pitman Nikolai von Ritter gave Jacob Feldman and a few days later the poems found musical accompaniment. The romance instantly became popular, and it was sung by the whole of Russia, and publishing houses massively "stamped" records with recordings of "Yamshchik" by different performers. Unfortunately, the resounding success of the work did not last long. After the revolution of 1917, the romance was declared class alien and its execution was banned. However, expelled from the concert venues, the text of the romance still continued to sound among the people. And in modern times, rare feasts pass without being sung on them.
Pitman, don't chase horses (romance). Sings Ivan Rebrov-Yamshchik, do not chase horses. "Yamshchik, do not chase horses" is a Russian romance related to the so-called Yamshchitsky songs. Author of poems: Nikolay Alekseevich von Ritter, author of music: Yakov Lazarevich Feldman. Approximate dates of creation: poems written no later than 1905, music-in 1915. Poet Nikolai Alekseevich von Ritter. The poet Nikolai Alekseevich von Ritter, whose poems were the basis of the romance, before the revolution was the author of many lyrical poems, including those set to music by different composers: "Ah, why this night", In the sky a clear bird", "Spring dream", "With all the power of passion", "Where are tuberoses and levkoi", "How amber wine burns" and many others. He was born and raised in an intelligent family, his father was a famous writer and journalist. Nikolai Alekseevich received an excellent humanitarian education, became a poet, but not only a poet-he himself set to music several of his poems, which thus became romances (the romance "You Joked"). He came from the Russified Germans-in 1766 his ancestor Georg von Ritter came to Russia, entered the Moscow regiment and by the beginning of the XIX century rose to lieutenant general. Having accepted Russian citizenship, he and all his descendants became residents of Russia. The First World War and the revolution of 1917 in Russia forced to emigrate and many Russian people who began to be considered as not Russian or not needed by the country and the state. The trace of the poet Nikolai Alekseevich Ritter was lost in emigration, where he left after 1917 ... Nothing more is known about him. Composer. Yakov Lazarevich Feldman (1884-1950) was known as the author of several romances; in addition to the notorious "Yamshchik, do not chase horses", he is the composer of the romances "Kiss my sleepless eyes" (publisher N. H. Davingof, Petrograd, 1910s), "Fireplace extinct" (publisher N. H. Davingof, Petrograd, 1910s), "If you knew, native" on the words of Inna Mandrazhi (publisher N. H. Davingof, 1916). He met the singer Agrippina Sergeevna Granskaya in Voronezh in January 1913, when he was 29 years old. Love flared up instantly. Since then, for another 15 years, he devoted all his works only to her. The inscription of the dedication to her stands on all his lifetime editions of romances, starting from that very 1913. A year later, they got married, and then worked together, touring with concerts. In 1915, Agrippina Sergeevna Granskaya became the first performer of the new romance "Yamshchik, do not chase horses". Two years later, in October 1917, a coup d'état took place. In 1920, the romance as hostile to the Soviet government was banned from execution. Agrippina Sergeevna died in 1925. Yakov Lazarevich survived it by a quarter of a century, having died in 1950: he worked as a musician and conductor in different cities. He did not find the triumphant return of his romance. Film. Based on this famous romance in 1916, film director Eugene Bauer shot a silent feature film with the same name "Pitman, do not chase horses" . one of the small roles was played by Taffy-writer Nadezhda Alexandrovna Lokhvitskaya. The film has not survived.
The history of one song. Coachman don't drive the horses. I have nowhere else to hurry…. Who is unfamiliar with these words from one of the best Russian romances - "Coachman, do not drive horses."! The associative memory of a person is arranged in such a way that in some life situations the melody and words of this romance pop up in memory. And the older you get, the more often you want to say "Coachman, .... I have nowhere else to hurry "Coachman, don't drive the horses" is a Russian romance related to the so-called coachmen's songs. I have already written about them. Lyricist: Nikolai Alekseevich von Ritter, music author: Yakov Lazarevich Feldman. Approximate dates of creation: poetry written no later than 1905, music - in 1915. The exact date of the appearance of the poetic text is unknown, but the poem was written no later than 1905. Music for them - no later than 1914, and most likely - in 1915. Although the poems were composed ten years earlier, they gained fame much later thanks to the musical arrangement that appeared. The music for the romance "Coachman, don't drive the horses" was composed as a response to the romance "Drive, coachman!" Romance "Drive, coachman!" written on behalf of a woman who survived the betrayal of a loved one. The romance is not widely known. Perhaps that is why no information has been preserved about its authors (only surnames: K. Osipenko - the author of poetry and V. Semenov - the author of music), nor about the history of its creation. Why the answer is unknown. Whether it became only a creative "conversation" or the authors of both romances knew each other well is unknown. It is possible that the composer saw the general theme of the romance: a woman deceived in love. After all, the first performer of the romance "Coachman, do not drive horses" was also a woman - the singer Agrippina Sergeevna Granskaya. And not everyone knows that behind the history of this work lies not a cruel romance, but pure and true love. In 1905, Nikolai von Ritter wrote the poems of the future romance "Coachman, don't drive the horses." A successful civil lawyer, Ritter was also a talented poet. Many famous composers wrote music to his poems, and the author himself sometimes also composed music. Perhaps the poem about the coachman would have remained unknown if not for the occasion. In 1913, in one of the Moscow publishing houses, two authors met and became acquainted: the Russified German Nikolai von Ritter and the aspiring Jewish composer and musician Yakov Feldman. Such is the historical truth about the authors of the truly Russian romance. The poet showed his poems - Feldman chose some of them to set to music. “Coachman, don’t drive the horses” especially attracted the composer with his inescapable sadness and tragic sound. In those years, Yakov Lazarevich Feldman led an orchestra in the Voronezh variety show "Bristol", which, thanks to his efforts, reached a high performing level. Actually, Feldman was from Odessa. Like many Jewish children, he studied music from an early age, played many instruments, and saw no other career than being a musician. Having successfully graduated from the music school of the famous Pinkhus Stolyarsky, he performed as a pianist, was the second conductor of a number of orchestras. One day, after a concert, an elegantly dressed man approached him. “I heard you speak,” he said. - I offer you a contract to work in Voronezh. Our musicians do not have a good leader. - Why not? Feldman replied. - Voronezh, of course, is not Odessa, but the city is not bad. After listening to the musicians, Yakov clutched his head: they played just badly. The work ahead was huge. Yakov spent from morning to night with his orchestra members, worked with each individually and with everyone together, achieving purity of sound, complete coordination, and understanding of the requirements of the conductor. The musicians tried, they understood that their future largely depended on it. Therefore, they rehearsed diligently and willingly, and the orchestra began to quickly change for the better. A year later, he was unrecognizable. The performances of the orchestra began to be a success with music lovers. He began to be invited on tour to other cities. Famous singers began to come to Voronezh to perform accompanied by the Feldman Orchestra. The conductor himself took up composing music, and significantly expanded the orchestra's repertoire with interesting pieces. Some works of the repertoire Feldman wrote himself. In the same 1913, a young but already popular singer Agrippina Sergeevna Granskaya came to Voronezh on tour. The girl did not have a great range or power of voice, did not shine with beauty, but conquered the Voronezh audience instantly. The concerts made a splash, incessant applause sounded ... Critics noted that the singer performs in the genre of an intimate song or romance-mood. Granskaya created a pure and chaste image on the stage, she managed to touch some hitherto untouched strings in the soul of the listeners with a pure and beautiful timbre. She managed to win the heart of the conductor - 29-year-old Feldman fell in love immediately, recklessly and for life. The girl reciprocated. A year later, Agrippina Sergeevna became Feldman's wife. They began touring together as an independent duo, and they were definitely received everywhere with a bang. Love always reveals dormant strengths and talents in a person. Feelings for the incomparable Agrippina Sergeevna inspired Yakov Lazarevich to compose his own romances, although he had never been fond of anything “such” before. Since then, for 15 years, he dedicated all his compositions only to his beloved. The inscription of dedication to her is on all his lifetime editions of romances, starting from that same 1913. The first romance written by Feldman for Granskaya was "Coachman, don't drive the horses." The young singer became his first performer. The author himself accompanied her on the piano. Our contemporaries are accustomed to hearing "The Coachman" most often performed by men or contralto, but Granskaya was the owner of the most gentle soprano. The romance was a resounding success. It was a complete triumph! First, Voronezh sang it, and then all of Russia. It is believed that “Coachman, don’t drive horses” was written as a response to K. Ostapenko’s popular romance in those years to the verses of V. Semenov “Drive, coachman!” in concerts and recorded on records. Semyonov's romance contains the following words: Drive, driver, faster into the distance, Perhaps we will dispel sadness, sadness. Let him fall out of love - longing will pass. Drive, coachman, hurry forward ...But the poetic soul of Ritter gave vent to the polar reflection of Semyonov's words: Coachman, do not drive the horses, I have nowhere else to hurry, I have no one else to love ... Whether this was the answer remains a mystery, but the fact remains that both romances are united by the theme of deceived love. "Coachman" shocked the listeners with his sincerity, the sadness of unrequited love ... The romance gained great popular popularity. The performers literally pulled out romance from each other. There was no music publishing house that did not publish this romance, there was not a single Russian record company that did not stamp it with different performers. "Coachman" became the highlight of two seasons at once - 1915 and 1916. On reprints, the romance was advertised as "the most beloved" and "the newest." Based on the plot of the romance, E. Bauer even shot a silent film with the same name in 1916, in which N. Teffi and I. Perestiani played the main roles. The success of the picture was great, but the film has not survived to this day. The parodies that appeared in 1916, as well as the appearance in 1917 of the romance answer “Hey, coachman, drive to the Yar!” served as a sign of stunning popularity! and then - the famous "Jingle Bells". The romance between Ritter and Feldman has become part of Russian folklore. In the 1920s, the Soviet government banned romance as a genre, it was ruthlessly expelled from concert venues, declaring it class alien and incompatible with the ideals of communism. But by this time, “The Coachman” had already become such a beloved and popular work that it was still sung at weddings and parties, and simply from the sad mood that is inseparable from the life of a person in these tragic years. Moreover, words and music were sincerely considered folk. Romance also continued to live a rich life abroad, wherever Russian emigrants ended up. But Feldman himself was even afraid to recall his involvement in the famous romance. Only many years later, the romance "Coachman, don't drive the horses" returned to the audience, taking a place on a par with the most popular vocal works. What was the further fate of the authors of the romance and the first performer? The author of the text of the romance, Nikolai von Ritter, whose poems were the basis of the romance, before the revolution was the author of many lyrical poems, including those set to music by various composers: “Ah, why this night”, “In the clear sky little bird”, “Spring dream ”, “With all the power of passion”, “Where are the tuberoses and levkoy”, “Wine burns like amber”, and many others. etc. He was born and raised in an intelligent family, his father was a famous writer and journalist. Nikolai Alekseevich received an excellent humanitarian education, became a poet, but not only a poet - he himself set several of his poems to music, which thus became romances (the romance “You were joking”). He came from Russified Germans - in 1766, his ancestor Georg von Ritter came to Russia, entered the Moscow regiment and by the beginning of the 19th century had risen to the rank of lieutenant general. Having accepted Russian citizenship, he and all his descendants became residents of Russia. George's descendants faithfully served Russia, were generals, professors, writers. As a memory of their German origin, many of them retained the prefix "fon". Alexei von Ritter, the father of the poet Nicholas von Ritter, was also a writer. Neither father nor son created anything outstanding, their works are forgotten, apparently forever. And only a few romance texts by Nikolai still survived. The First World War and the 1917 revolution in Russia forced many Russian people to emigrate, who were considered as not Russian or not needed by the country and the state. Left Russia after 1917 and Nikolai von Rieter, his traces were lost in exile. Where and when he ended his days is unknown, but the poem about the coachman forever entered his name in the world history of Russian romances.
Feldman and Granskaya moved to Moscow, but they could not adapt to the new reality. In 1925, Agrippina Sergeevna died from a serious illness. Feldman outlived his wife by a quarter of a century. He toured the country, still dedicating new compositions to the memory of his wife, but none of his works reached such a height and penetration as The Coachman, which remained his best "star" creation. The triumphant return of his romance Feldman was not destined to wait. A hundred years have passed. A long time ago there were no coachmen driving horses on our roads ... Our modernity is a century of rapid development of technical progress, an endless flow of information, crazy speeds ... But this little lyrical musical masterpiece of Ritter and Feldman still remains dear to us. Touching to tears, it awakens subtle and tender feelings in us. Like a thirst among the gloomy plains To forget betrayal and love, But memory is my evil master, Everything wakes up the past again. Chorus: Coachman, don't drive the horses, I have nowhere else to hurry, I have no one else to love...Coachman, don't drive the horses. Everything was just lies and deceit, Goodbye and dreams, and peace, And the pain of unclosed wounds Will remain forever with me. Chorus.
“Coachman, don’t drive horses” is a Russian romance created at the beginning of the 20th century . The words were written by the poet Nikolai Aleksandrovich (or Alekseevich) von Ritter in 1905 and set to music by the composer Yakov Lazarevich Feldman in 1914 . Became known to the general public since 1915 as an answer to the romance "Drive, Coachman!". Gained great popularity in the 1910s. in Russia. History. The words of the future romance "Coachman, do not drive the horses" were written by the famous poet Nikolai Alexandrovich (or Alekseevich) von Ritter in Russia at the beginning of the 20th century in 1905 as a poem, which, according to the author's intention, is the answer to the romance "Drive, coachman!". This poem became widely known later, when it was embodied in the romance of the composer Yakov Lazarevich Feldman ( 1884-1950 ) . Russian romance researcher Elena Ukolova writes that it is impossible to say unequivocally where Yakov Feldman met Nikolai von Ritter. According to Ukolova, this could have happened in the Moscow publishing house Yambora. As a result, by the beginning of 1915, Feldman created two romances in verseRitter . One of them was just "Coachman, do not drive horses!". Ukolova writes that the romance appeared in a timely manner, because it coincided with the mood that hovered in society. The musical version of the romance was dedicated by Feldman to the Russian singer Agrippina Sergeevna Granskaya , at that time Feldman's wife. Feldman and Granskaya met in Voronezh in January 1913, and since then, for 15 years, Feldman devoted all his musical works to her . In 1914, the notes and the text of the romance were published in the Gypsy Life series by the publisher Nikolai Davingoff , indicating the dedication to Granskaya and as a response to the romance Drive, Coachman! . In 1915, the first version of the song "Coachman, don't drive horses" belonged to Granskaya , which brought her wide fame as a singer. Subsequently, the male version of the performance of the romance was established .Soon after its appearance, the romance gained great popular popularity. In 1916, the Russian director, theater designer and screenwriter Yevgeny Bauer shot a silent feature film with the same name: "Coachman, don't drive the horses" , which was a kind of film adaptation of the romance. (That film has not survived to this day.) In 1920, in Soviet Russia , the romance, as researcher Rita Bolotskaya reports in the pages of the Sobesednik newspaper, was allegedly banned "as an anti-class phenomenon and incompatible with the ideals of communism" and "deleted from all repertoires" [1] . However, she writes further: “There was probably not a single recording studio that did not pay tribute to the Coachman. Even the prohibition of the Soviet authorities could not cut off the oxygen to this romance, they sang it anyway, and the words and music were sincerely considered folk” [1] . And years later, the romance "Coachman, don't drive horses" returned to the audience, taking a place on a par with the most popular vocal works. The author of the text of the romance , Nikolai von Ritter , according to some publishers, left Russia after the 1917 revolution . However, this statement is debatable, since his other biographers even name the exact address at which he still lived in Kiev at the beginning of 1919 : at house number 26 on Bibikovsky Boulevard . But no later information about him has been found. And the author of the music, Yakov Feldman , remained in Soviet Russia. In 1925, when the first performer of the romance Agrippina Granskaya died , Ya. L. Feldman published a series of his last romances with a dedication to his deceased wife. The composer himself worked as a musician and conductor in different cities and died in 1950.
http://www.rusog.ru/-ritter-nikolaj-kompozitor-poet////Ritter Nikolai (composer, poet)///Nikolai von Ritter is a poet, the author of the words to several romances, the most popular of which is the romance to the music of J. Feldman "Yamshchik, do not drive horses. He composed the music for the romance "You Joked" himself. N. von Ritter was a Russified German. The First World War gradually depleted the country. Even the province, which was invigorated at first, lost heart. Against the backdrop of a nationwide depression, German pogroms began. Imagine what it was like to endure long-russified, faithfully serving Russia Germans, for example, Nikolai von Ritter. The poet's ancestor Georg von Ritter came to Russia in 1766, entered the Moscow Regiment and by the beginning of the XIX century had risen to the rank of lieutenant general. In the middle of the XIX century, the Ritters were among the professors of Moscow University. The poet's father wrote books, published in Moscow newspapers... And suddenly, there were pogroms, persecutions. 'How sad, foggy all around, Dreary, troublesome my path, And the past seems like a dream, To mit a sore chest ... Yamshchik, don't drive horses!' wrote Nikolai von Ritter in despair. Nikolai von Ritter left Russia after 1917, his traces lost in emigration.
https://drinking--songs-ru.translate.goog/slova-pesen/yamshhik-ne-goni-loshadej.html?_x_tr_sl=ru&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc///Coachman, don't drive the horses///The text of the romance "Coachman, do not drive the horses" still surprises! A chance meeting in the spring of 1913 between a Russified German poet and an aspiring Jewish composer at a Moscow publishing house contributed to the birth of the Russian romance Coachman, Don't Drive Horses. Nikolai von Ritter gave the text of his poem about the coachman to Yakov Feldman, and a few days later the poems received musical accompaniment.///The romance instantly became popular, and the whole of Russia sang it, and publishing houses massively "stamped" gramophone records with recordings of "The Coachman" by various performers. Unfortunately, the resounding success of the work did not last long. After the 1917 revolution, the romance was declared class alien and its performance was banned. However, expelled from concert venues, the text of the romance still continued to sound among the people. And in modern times, rare feasts take place without being sung at them./// Many, many years have passed. A long time ago there were no coachmen driving horses on our roads ... Our modernity is a century of rapid development of technical progress, an endless flow of information, crazy speeds ... But this little lyrical musical masterpiece of Ritter and Feldman still remains dear to us. Touching to tears, it awakens subtle and tender feelings in us.///The associative memory of a person is arranged in such a way that in some life situations the melody and words of this romance pop up in memory. And the older you get, the more often you want to say “Coachman, .... I have nowhere else to hurry .... "
https://zhiznteatr-mirtesen-ru.translate.goog/blog/43612175488/Istoriya-odnoy-pesni.-YAmschik-ne-goni-loshadey?_x_tr_sl=ru&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc/// Svetlana Mitlenko///04/05/2018 at 17:30///The history of one song. Coachman don't drive the horses///…I have nowhere else to hurry…. Who is unfamiliar with these words from one of the best Russian romances - "Coachman, do not drive horses."! The associative memory of a person is arranged in such a way that in some life situations the melody and words of this romance pop up in memory. And the older you get, the more often you want to say "Coachman, .... I have nowhere else to hurry ...."The history of one song. Coachman don't drive the horses///"Coachman, don't drive the horses" is a Russian romance related to the so-called coachmen's songs. I have already written about them.///Lyricist: Nikolai Alekseevich von Ritter, music author: Yakov Lazarevich Feldman.The history of one song. Coachman don't drive the horses Approximate dates of creation: poetry written no later than 1905, music - in 1915.///The exact date of the appearance of the poetic text is unknown, but the poem was written no later than 1905. Music for them - no later than 1914, and most likely - in 1915. Although the poems were composed ten years earlier, they gained fame much later thanks to the musical arrangement that appeared.///The music for the romance "Coachman, don't drive the horses" was composed as a response to the romance "Drive, coachman!" Romance "Drive, coachman!" written on behalf of a woman who survived the betrayal of a loved one. The romance is not widely known. Perhaps that is why no information has been preserved about its authors (only surnames: K. Osipenko - the author of poetry and V. Semenov - the author of music), nor about the history of its creation.///Why the answer is unknown. Whether it became only a creative "conversation" or the authors of both romances knew each other well is unknown. It is possible that the composer saw the general theme of the romance: a woman deceived in love. After all, the first performer of the romance "Coachman, do not drive horses" was also a woman - the singer Agrippina Sergeevna Granskaya.///And not everyone knows that behind the history of this work lies not a cruel romance, but pure and true love.The history of one song.///In 1905 Nikolai von Ritter wrote the poems of the future romance "Coachman, don't drive the horses". A successful civil lawyer, Ritter was also a talented poet. Many famous composers wrote music to his poems, and the author himself sometimes also composed music. Perhaps the poem about the coachman would have remained unknown if not for the occasion.///In 1913, in one of the Moscow publishing houses, two authors met and became acquainted: the Russified German Nikolai von Ritter and the aspiring Jewish composer and musician Yakov Feldman. Such is the historical truth about the authors of the truly Russian romance. The poet showed his poems - Feldman chose some of them to set to music. “Coachman, don’t drive the horses” especially attracted the composer with his inescapable sadness and tragic sound.///In those years, Yakov Lazarevich Feldman led an orchestra in the Voronezh variety show "Bristol", which, thanks to his efforts, reached a high performing level. Actually, Feldman was from Odessa. Like many Jewish children, he studied music from an early age, played many instruments, and saw no other career than being a musician. Having successfully graduated from the music school of the famous Pinkhus Stolyarsky, he performed as a pianist, was the second conductor of a number of orchestras.///One day, after a concert, an elegantly dressed man approached him.///“I heard you speak,” he said. - I offer you a contract to work in Voronezh. Our musicians do not have a good leader.///- Why not? Feldman replied. - Voronezh, of course, is not Odessa, but the city is not bad.///After listening to the musicians, Yakov clutched his head: they played just badly. The work ahead was huge. Yakov spent from morning to night with his orchestra members, worked with each individually and with everyone together, achieving purity of sound, complete coordination, and understanding of the requirements of the conductor. The musicians tried, they understood that their future largely depended on it. Therefore, they rehearsed diligently and willingly, and the orchestra began to quickly change for the better. A year later, he was unrecognizable. The performances of the orchestra began to be a success with music lovers. He began to be invited on tour to other cities. Famous singers began to come to Voronezh to perform accompanied by the Feldman Orchestra. The conductor himself took up composing music, and significantly expanded the orchestra's repertoire with interesting pieces.///Some works of the repertoire Feldman wrote himself. In the same 1913, a young but already popular singer Agrippina Sergeevna Granskaya came to Voronezh on tour. The girl did not have a great range or power of voice, did not shine with beauty, but conquered the Voronezh audience instantly. Concerts made a splash, unceasing applause sounded ... Critics noted that the singer performs in the genre of an intimate song or romance-mood. Granskaya created a pure and chaste image on the stage, she managed to touch some hitherto untouched strings in the soul of the listeners with a pure and beautiful timbre. She managed to win the heart of the conductor - 29-year-old Feldman fell in love immediately, recklessly and for life. The girl reciprocated. A year later, Agrippina Sergeevna became Feldman's wife. They began touring together as an independent duet, and they were definitely received with a bang everywhere. Love always reveals dormant strengths and talents in a person. Feelings for the incomparable Agrippina Sergeevna inspired Yakov Lazarevich to compose his own romances, although he had never been fond of anything "such" before. Since then, for 15 years, he dedicated all his compositions only to his beloved. The inscription of dedication to her is on all his lifetime editions of romances, starting from that same 1913.///The first romance written by Feldman for Granskaya was "Coachman, don't drive the horses." The young singer became his first performer. The author himself accompanied her on the piano. Our contemporaries are accustomed to hearing "The Coachman" most often performed by men or contralto, but Granskaya was the owner of the most gentle soprano. The romance was a resounding success. It was a complete triumph! First, Voronezh sang it, and then all of Russia.///It is believed that "Coachman, do not drive horses" was written as a response to the popular romance of those years by K. Ostapenko to the verses of V. Semenov "Drive, coachman!" in concerts and recorded on records. Semyonov's romance contains the following words: Drive, driver, faster into the distance, Perhaps we will dispel sadness, sadness. Let him fall out of love - longing will pass. Drive, coachman, hurry forward ... ///But the poetic soul of Ritter gave vent to the polar reflection of Semyonov's words: Coachman, do not drive the horses, I have nowhere else to hurry, I have no one else to love ...///Whether this was the answer remains a mystery, but the fact remains that both romances are united by the theme of deceived love. "Coachman" shocked the listeners with his sincerity, the sadness of unrequited love ...///The romance gained great popular popularity. The performers literally pulled out romance from each other. There was no music publishing house that did not publish this romance, there was not a single Russian record company that did not stamp it with different performers. "Coachman" became the highlight of two seasons at once - 1915 and 1916. On reprints, the romance was advertised as "the most beloved" and "the newest." Based on the plot of the romance, E. Bauer even shot a silent film with the same name in 1916, in which N. Teffi and I. Perestiani played the main roles. The success of the picture was great, but the film has not survived to this day. The parodies that appeared in 1916, as well as the appearance in 1917 of the romance answer “Hey, coachman, drive to the Yar!” and then - the famous "Jingle Bells". The romance between Ritter and Feldman has become part of Russian folklore.///In the 1920s, the Soviet government banned the romance as a genre, it was ruthlessly expelled from concert venues, declaring it class alien and incompatible with the ideals of communism. But by this time, “The Coachman” had already become such a beloved and popular work that it was still sung at weddings and parties, and simply from the sad mood that is inseparable from the life of a person in these tragic years. Moreover, words and music were sincerely considered folk. Romance also continued to live a rich life abroad, wherever Russian emigrants ended up. But Feldman himself was even afraid to recall his involvement in the famous romance. Only many years later, the romance "Coachman, don't drive the horses" returned to the audience, taking a place on a par with the most popular vocal works.///What was the further fate of the authors of the romance and the first performer? The author of the text of the romance, Nikolai von Ritter, whose poems were the basis of the romance, before the revolution was the author of many lyrical poems, including those set to music by various composers: “Oh, why is this night”, “In the clear sky little bird”, “Spring dream ”, “With all the power of passion”, “Where are the tuberoses and levkoy”, “Wine burns like amber”, and many others. etc. He was born and raised in an intelligent family, his father was a famous writer and journalist. Nikolai Alekseevich received an excellent humanitarian education, became a poet, but not only a poet - he himself set several of his poems to music, which thus became romances (the romance “You were joking”). He came from Russified Germans - in 1766, his ancestor Georg von Ritter came to Russia, entered the Moscow regiment and by the beginning of the 19th century had risen to the rank of lieutenant general. Having accepted Russian citizenship, he and all his descendants became residents of Russia. George's descendants faithfully served Russia, were generals, professors, writers. As a memory of their German origin, many of them retained the prefix "fon".///Alexei von Ritter, the father of the poet Nicholas von Ritter, was also a writer. Neither father nor son created anything outstanding, their works are forgotten, apparently forever. And only a few romance texts by Nikolai still survived.///The First World War and the revolution of 1917 in Russia forced many Russian people to emigrate, who began to be regarded as not Russian or not needed by the country and the state. Left Russia after 1917 and Nikolai von Rieter, his traces were lost in exile. Where and when he ended his days is unknown, but the poem about the coachman forever entered his name in the world history of Russian romances.///Feldman and Granskaya moved to Moscow, but they could not adapt to the new reality. In 1925, Agrippina Sergeevna died from a serious illness. Feldman outlived his wife by a quarter of a century. He toured the country, still dedicating new compositions to the memory of his wife, but none of his works reached such a height and penetration as The Coachman, which remained his best "star" creation. The triumphant return of his romance Feldman was not destined to wait.///A hundred years have passed. A long time ago there were no coachmen driving horses on our roads ... Our modernity is a century of rapid development of technical progress, an endless flow of information, crazy speeds ... But this little lyrical musical masterpiece of Ritter and Feldman still remains dear to us. Touching to tears, it awakens subtle and tender feelings in us.///Like a thirst in the midst of the gloomy plains To forget betrayal and love, But memory is my evil master, Everything wakes up the past again. Chorus: Coachman, don't drive the horses, I have nowhere else to hurry, I have no one else to love...Coachman, don't drive the horses. Everything was just lies and deceit, Farewell to dreams and peace, And the pain of unclosed wounds Will remain forever with me. Chorus.
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