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דרכים-Эх, Дороги

שיר רוסי-מילים: לב איבאנוביץ' אושאנין-עברית: אלי סט-ניקוד: נילי בן יחזקאל-לחן: אנאטולי גרגורייביץ' נוביקוב-שירה: איזי הוד-עיבוד, נגינה, עריכה והקלטה: מאיר רז

שׁוּב לַדֶּרֶךְ, אוֹבֶךְ וְאָבָק, רוֹעֲדִים מִפַּחַד, גַּם עִשְׂבֵי עֲרָבָה. לֹא יָדוּעַ, אִם תַּמְשִׁיךְ לִצְעוֹד, אוֹ, תִּפּוֹל פָּגוּעַ, שָׁם בְּלֵב עֲרָבוֹת וְעוֹלֶה מִמַּגָּפַיִם, אָבָק לָעֵינַיִם, אֵשׁ סָבִיב, יוֹמָם וָלַיִל, שׁוֹרְקִים כַּדּוּרִים. שׁוּב לַדֶּרֶךְ, אוֹבֶךְ וְאָבָק, רוֹעֲדִים מִפַּחַד, גַּם עִשְׂבֵי עֲרָבָה. קוֹל שֶׁל יְרִי וְעוֹרֵב בָּרַח, יְדִידְךָ בָּעֵשֶׂב, שָׁם שׁוֹכֵב כְּמוֹ רַק נָח. אַךְ הַדֶּרֶךְ מְמַהֶרֶת, סוֹרֶרֶת, עִוֶּרֶת וְהָאֲדָמָה בּוֹעֶרֶת, בְּאֶרֶץ זָרָה. שׁוּב לַדֶּרֶךְ, אוֹבֶךְ וְאָבָק, רוֹעֲדִים מִפַּחַד, גַּם עִשְׂבֵי עֲרָבָה. עַל הַחוֹרֵשׁ, שֶׁמֶשׁ נִדְלְקָה, עוֹד בְּפֶתַח בַּיִת, אֵם לִבְנָה מְחַכָּה. כִּי הַדֶּרֶךְ לֹא יוֹדַעַת, לֹא גְּבוּל וְלֹא יַעַד, אַךְ צוֹפוֹת אֵלַי כָּל צָעַד, עֵינֵי אוֹהֲבִים. שׁוּב לַדֶּרֶךְ, אוֹבֶךְ וְאָבָק, רוֹעֲדִים מִפַּחַד גַּם עִשְׂבֵי עֲרָבָה

Эх, дороги-Музыка: Anatoly Grigorievich Novikov-Слова: Lev Ivanovich Oshanin. Эх, дороги...Пыль да туман, Холода, тревоги, Да степной бурьян. Знать не можешь, Доли своей, Может, крылья сложишь, Посреди степей. Вьется пыль под сапогами, степями, полями. А кругом бушует пламя, Да пули свистят. Эх, дороги...Пыль да туман, Холода, тревоги, Да степной бурьян. Выстрел грянет, орон кружит: Твой дружок в бурьяне, Неживой лежит...А дорога дальше мчится, пылится, клубится, А кругом земля дымится, Чужая земля. Край сосновый. Солнце встает. У крыльца родного, Мать сыночка ждет. И бескрайними путями, степями, полями, Всё глядят вослед за нами, Родные глаза. Эх, дороги...Пыль да туман, Холода, тревоги, Да степной бурьян. Снег ли, ветер,-Вспомним, друзья! Нам дороги эти, Позабыть нельзя.

הערות שכתב איזי הוד: השיר נקרא תחילה, המיית הגלגלים, אחר כך נקרא, חיילים יוצאים לקרב, אחר כך נקרא, דרכי החיילים, אחר כך נקרא, הו, דרכים ולבסוף, דרכים. שינויי שם השיר רדפו זה אחר זה, עם שינויי תוכן השיר. השיר, נכתב זמן קצר לאחר תום המלחמה הפטריוטית הגדולה [מלחמת העולם השנייה], בסתיו 1945 [ונכתב מחדש בחורף 1946], לתכנית הבימתית, האביב המנצח, שתוכננה ויושמה, על ידי מנהל הלהקה של השיר והריקוד, של משרד הפנים הסובייטי [1] להקת פיקוד של ה-נ.ק.וו.ד. זו הייתה, הלהקה השנייה הכי פופולארית, במלחמת העולם השנייה ומיד אחרי שהסתיימה, בניצחון הרוסים על גרמניה הנאצית [הראשונה הייתה מקהלת הצבא האדום]. כל השירים שבתכנית, על פי הוראות הבמאי, נגעו, ביציאת החיילים מגרמניה ושיבתם הביתה. המלחין והמשורר נצטוו לכתוב שיר תחת הכותרת, שעטת הגלגלים [של הרכב הקרבי] שיר המתאר את התמונה של, חיילים יוצאים לקרב וכך כתבו את הגרסה הראשונה, שזכתה לאהדת הקהל, גם הבכורה של השיר, הייתה מאד מוצלחת. אך המחברים, מצאו בה פגמים והמשיכו את השלמת כתיבת השיר, עוד מספר שבועות. כנראה, עד חורף 1946. השיר עובד מחדש כך, שיגע בתוצאות מלחמת העולם השנייה ברוסיה, כפי שחשים השורדים המנצחים מיד בשובם הביתה, מנצחים אך תוהים באשר לעתיד. המנגינה של השיר, צורפה לאחר מכן, כמלווה את הסרט הסובייטי, הזקן יוצא למלחמה ובו תיאורים משנות המלחמה 1943-1942, של חציית הדנייפר ושחרור קייב, בקרבות אוקראינה. השיר, נלמד אחר כך, בתכניות הלימודים ברוסיה הסובייטית והיה קשה לעיכול לתלמידים, שחלקם אהב מאז-וחלקם שנא מאז-את השיר. רבים מהתלמידים, איבדו את הוריהם המגויסים במלחמה והויכוח הזה, ממשיך והולך. המשורר, שלא שירת ביחידות קרביות, במהלך מלחמת העולם השניה, היה בחזית מספר פעמים, בתפקידים אחרים וחווה את הפצצות האויר, הפגזות התותחים, הדם וההרג. המלחין של השיר, לחם בשלהיי מלחמת העולם השנייה, ליד העיר, ז'יזדרה וכמה מלחניו הקודמים, נכתבו, גם הם, תחת רעם אש התותחים והפצצות האויר. במהלך ההופעה הראשונה של השיר, חשו המחברים, בתוך התלהבות הקהל, שהם הולכים לשכתב את השיר ואף את שמו של השיר והשיר, שהיה שיר מלחמה תקיף ושהתאים לתקופת המלחמה עצמה, נכתב מחדש, כשיר של אחרי המלחמה, של וידוי, של זיכרון, של הירהורים, של צער על הקורבנות הרבים בנפש ושל אמונה, בניצחון המוחץ, במלחמה האחרונה. ישנן עדויות, על שבויי מלחמה גרמנים, ממגויסי החובה למלחמה, שאימצו את השיר, כשיר געגועים לביתם. גדול גיבורי רוסיה, במלחמת העולם השנייה, המרשל ז'וקוב, ציין את השיר, כטוב מבין שלושת שירי המלחמה שאהב

[1] The People's Commissariat for Internal Affairs abbreviated NKVD or MVD. 

קישור לשיר בשפת המקור

Link to the song in the original language

Эх,Дороги

Эх,Дороги

Эх,Дороги

Эх,Дороги

Эх,Дороги

Эх,Дороги

Эх,Дороги

Эх,Дороги

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

Эх, Дороги

Эх, Дороги

Эх, Дороги

Эх, Дороги

Эх, Дороги

Эх, Дороги 

Эх, Дороги 

Эх, Дороги 

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.

Roads-Russian song-Lyrics: Lev Ivanovich Oshanin-Hebrew: Eli set-Grammar: Nili Ben Yehezkel-Melody: Anatoly Gregorievich Novikov-Singing: Izzy Hod-Arrangement, music, editing and recording: Meir Raz.

Notes written by Izzy Hod: The song was first called, The wheels are humming, then it was called, Soldiers Go to Battle, then it was called, The Ways of the Soldiers, then it was called, Oh, Ways and finally, Ways. Song title changes followed each other, with song content changes. The song, written shortly after the end of the Great Patriotic War [World War II], in the fall of 1945 [and rewritten in the winter of 1946], for the stage show, The Victorious Spring, which was planned and implemented, by the director of the song and dance troupe, of the Soviet Ministry of Internal Affairs troupe of the Command of the N.K.V.D. It was the second most popular entertainment band in World War II and the period right after its ending, in the Russian victory over Nazi Germany [the first important entertainment band was the Red Army Choir]. All the songs in the program, according to the director's instructions, touched upon the departure of the soldiers from Germany and their return home. The composer and poet were ordered to write a song under the title, The wheels are humming [of the combat vehicle] a song describing the image of, soldiers going into battle and so they wrote the first version, which won the sympathy of the audience and the premiere of the song was very successful. But the authors found flaws in it and continued to complete the writing of the poem for several more weeks. Probably, until the winter of 1946. The song was reworked so it will describes the results of World War II in Russia, as the victorious survivors feel immediately upon returning home, victorious but wondering about the future. The melody only of the song was added later, as an accompaniment to the Soviet film, The Old Man Goes to War, which contains descriptions from the war years 1942-1943, of the crossing of the Dnieper and the liberation of Kyiv, in the battles of Ukraine. The song was later taught in the curricula of Soviet Russia and was difficult for the students to digest, some of whom have since loved - and some have since hated - the song. Many of the students lost their enlisted parents in the war and this debate goes on and on. The poet, who did not serve in combat units, during the Second World War, was at the front several times, in other positions and experienced the aerial bombings, the artillery shelling, the blood and the killing. The composer of the song, fought during World War II, near the city, Zizdra [in Lithuania] and some of his previous compositions, were also written under the thunder of artillery fire and air bombs. During the first performance of the song, the authors felt, amidst the enthusiasm of the audience, that they were going to rewrite the song and even the name of the song and the song, which was a strong war song and which suited the war period itself, was rewritten, as a song of after the war, of confession, of memory, of reflection , of sorrow for the many victims in the soul and of faith, in the overwhelming victory, in the last war. There are testimonies, about German prisoners of war, from the conscripts for the war, who adopted the song, as a song of longing for their home. The great hero of Russia, in World War II, Marshal Georgy Konstantinovich Zhukov, mentioned the song as the best of the three war songs he liked. The literal description of the words of the song is as follows, We set off again in the haze of the dust as we trembled with fear that stuck even in the weeds of the prairie. We do not know how much more we can go and if we do not fall there in the heart of the prairie. From the dragging of our boots the dust rises to the eyes, in addition to the surrounding fire and the whistling bullets all around. We set off again in the haze of the dust as we trembled with fear that stuck even in the weeds of the prairie. The sound of shooting and crows running away, your friend in the grass, is lies like just resting. But we will not stop, the road is in hurry, unruly, blind and the ground beneath it is burning and all this in a foreign land at all. We set off again in the haze of the dust as we trembled with fear that stuck even in the weeds of the prairie. Above the grove the sun is burning and the mother stands in the doorway of her house waiting for her son, for the road does not know, neither the destination of the march nor its boundary, but the eyes of the loving mothers anticipate every step that will bring the sons back. We set off again in the haze of the dust as we trembled with fear that stuck even in the weeds of the prairie.

Texts from the references

Eh, roads. Music by Anatoly Novikov, lyrics by Lev Oshanin (1945)Performed by Georgy Abramov. Eh, roadsThe song was written shortly after the end of the Great Patriotic War, in the autumn of 1945, for the theatrical program "Victory Spring", which was conceived and implemented by the director of the Song and Dance Ensemble of the NKVD Troops Sergei Yutkevich for the holiday of November 7. All the songs in it, according to the director's intention, were supposed to be connected with a certain plot outline - the departure of the fighters home from Germany, so their themes and character were outlined and agreed in advance. The authors of the song - composer Anatoly Novikov and poet Lev Oshanin - were given a long list of them, typed on a typewriter. From this list, Novikov and Oshanin chose a meditation song with the conditional name "Under the sound of wheels" and set to work. The first performer of "Roads" was the soloist of the NKVD ensemble Ivan Shmelev. The premiere was successful, but the authors worked on the song for another month after that. Lev Oshanin recalled: We have finished the song. She was accepted and praised. And here we are at the premiere of a new program. And they sang it not God knows how. But there was a long silence in the hall. Then he exploded and demanded a repetition of the song. And I, listening to her, looked at the hall, and one thing became clearer to me: this is not the song “Under the sound of wheels” at all. We ourselves did not understand what we wrote, it is still a semi-finished product, a blank, half a song. I grabbed Novikov by the hand: - Stop the song! - What are you, - answered Novikov, - I have already handed over the clavier to the publishing house. And I again: - Stop the song for a week. She is wrong. Novikov muttered displeasedly: - You have some kind of whim...But by his cunning squint, I felt that he was beginning to understand me. And it was already clear to me - this is the song of the outcome of the war. Whether we wanted to or not, some inexplicable, but true note of time rang in her. For a month I kept the song in search of the solution that I saw then in the concert hall. And then we released it again. And it was called at first "Soldier's Roads". Then "Oh dear." Finally just "Roads". By the way, about formal song laws. When "Roads" had already appeared, I suddenly noticed with surprise that the quatrain - the chorus, which is the beginning of each verse, because it does not complete, but opens the song - consists of only nouns. And the verbs, on the other hand, seemed to jump into the middle part of the song. This is probably the only case in poetry. Anatoly Novikov said: - Oshanin and I began to be invited to schools. I sat down at the piano, the poet and I sang "Roads", and the guys sang this soldier's song with us. Then we left the school, and I asked Oshanin: “What happened, why do the kids, schoolchildren sing this song, is it a soldier’s?” And then we realized that the guys with their hearts very strongly, deeply feel these military adult roads. The song contains for them both a funeral for their father, and a bomb shelter, and childish military fears. And the boys and girls sang it unusually, "with a tear." You don't always know how your song will work...Text. Oh, the roads...Dust and fog, Cold, anxiety Yes, steppe weeds. You can't know your Share, Maybe you'll fold your wings In the middle of the steppes. Dust curls under the boots of the steppes and fields. And all around the flames are raging And the bullets are whistling. Oh, the roads...Dust and fog, Cold, anxiety Yes, steppe weeds. The shot will strike, the Raven is circling: Your friend in the weeds Inanimate lies...And the road rushes on , gathering dust, swirling, And all around the earth smokes Alien land. Oh, the roads...Dust and fog, Cold, anxiety Yes, steppe weeds. Pine edge. The Sun is rising. At the porch of the native Mother is waiting for her son. And endless paths, steppes, fields All look after us Native eyes. Oh, the roads...Dust and fog, Cold, anxiety Yes, steppe weeds. Is it snow, wind-Let's remember, friends-We cannot forget these roads.

Words and music-1945 We can't forget these roads. Also found under the title "Roads".  Russian Soviet songs. According to one version, for the first time the song was performed by Georgi Vinogradov accompanied by the Alexandrov Military Song Ensemble. On the other- Ivan Shmelev with the Ensemble of Songs and Dances of NKVD troops on the theatrical program "Spring Victorious", staged on November 7, 1945 by the orchestra's director Sergei Yutkevich, and the song itself is specially written for this production. Then within a month it was finalized and entered the repertoire of other ensembles. Leo Oshanin (1912-1996).

 Roads or The Roads (Russian: Дороги) is a Soviet WWII song by Anatoly Novikov to lyrics by the poet Lev Ivanovich Oshanin. The song is one of the best-known works of the composer, having been popularised by both ensembles carrying the name of the Red Army Choir, namely the Alexandrov Ensemble and MVD Ensemble. Novikov and Oshanin were members of a military troupe at the front and the song was composed under artillery fire at Zhizdra. Among those who have recorded the song are Muslim Magomayev, Ivan Rebroff (1986), Dmitri Hvorostovsky on the war songs album Where Are You My Brothers, and the Choir of Sretensky Monastery. The song begins "Ah roads.." («Эх, дороги…») and is not to be confused with another Red Army Choir favourite "На дороге" ("On the road") or "Гей, по дороге!" ("Hey, on the road!").

"Eh, Roads..." Many consider this famous composition folk and think that it was born during World War II. Indeed, the song "Eh, Roads" or simply "Roads" is similar to folklore works, but its authors are well acquainted with Soviet music lovers. It was born when Nazi Germany had already surrendered, but the memory still had fresh memories of bloody battles and endless front roads.   Roads…is a Soviet song written by Anatoly Novikov on the poems of Leo Oshanin in 1945. The song was written shortly after the end of the Great Patriotic War, in the autumn of 1945, for the theatrical program "Spring Victorious", which was conceived and performed for the holiday on November 7, director of the Ensemble of Songs and Dances of the NKVD troops Sergey Yutkevich. All the songs in it, according to the director's plan, had to be connected by a certain plot channel-the departure of the fighters home from Germany, so their themes and character were pre-planned and discussed. The songwriters-composer Anatoly Novikov and poet Leo Oshanin-were presented with a long list of them, printed on a typewriter. From this list Novikov and Oshanin chose a song-reflection with the conditional name "Under the knock of wheels" and started to work. The first performer of "Road" was the soloist of the ensemble NKVD Ivan Shmelov. The premiere was successful, but the authors further a month after that modified the song. The song became popular, it was often performed by other singers and ensembles.

https://song--story-ru.translate.goog/dorogi/?_x_tr_sl=ru&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc///The story of the song "Eh, roads..." "Roads" was composed by the poet-songwriter Lev Oshanin and the composer Anatoly Novikov. They wrote it on the order of the NKVD Ensemble. Very famous and popular in those days Moscow collective specialized in theatrical performances, in which all the numbers were united by a single plot. The main director of the ensemble was Sergei Yutkevich. Later Lev Ivanovich said: And in 1945 this ensemble turned to us with A. Novikov with a request to write one or two songs for a new program. The themes of the songs were predetermined, we received a long list of them, printed on a typewriter. Then it seemed that everything that could be written about the war had already been written. And Novikov and I wrote a lot of war songs. Maybe that's why we were fascinated by the theme, which was formulated sparingly: "Under the clatter of wheels," and in brackets there was-"Soldiers go to the front." Working on the work, the authors were inspired by their memories of the war, front-line missions and performances in front of the fighters. First, they composed a few musical lines, which perfectly lay the first quadruplets. All the phrases in the text are very short, so they were not easy to fill with deep meaning, tell a story and evoke emotions in the listener. Thus, Lev Oshanin recalled that for a long time he could not find a continuation to the line "Your friend in the storm...". In the end, he settled on the version "Inanimate lies": This is "inanimate," I think, said more than a lot of words that could have come to this place. How difficult it was to compose a song makes it clear this quote by Lev Ivanovich: For me, this must have been the first job in which I really understood the difficulty and happiness of finding a song lyric. The director accepted a song called "Under the Knock of wheels," introduced it into the program and invited the authors to the premiere. Next, we will quote Lev Ivanovich again: And it's not god's singing. But suddenly there was a long silence in the hall. Then it exploded and demanded a repeat of the song. And I, listening to it, looked at the hall, and it became clearer to me one thing: it is not a song "Under the clatter of wheels." We did not understand what we wrote, it is still half of the song. Oshanin persuaded Novikov to withdraw the work in order to finalize it. And it was already clear to me-this is the song of the end of the war. Whether we wanted it or not, there was some inexplicable but correct note of time. For a month I held the song in search of the solution I saw in the concert hall. And then we re-released it. And it was called "Soldier's Roads" at first. Then "Eh, roads." Finally, just "Roads." The first version of the song "Eh, roads..." performed by Ivan Shmelov, who was then the soloist of the NKVD Song and Dance Ensemble. Subsequently, it was sung by many other artists and musical groups. The authors also had to act as singers. Anatoly Novikov says: Oshanin and I were invited to school. I sat down at the piano, the poet and I sang "Roads" and together we sang this soldier's song guys. Then we left the school, and I asked Oshanin, "What happened, why do the kids, the schoolchildren sing this song, she's a soldier?" And then we realized that the guys feel their heart very strongly, deeply feel these military adults roads. The song includes a funeral for their father, a bomb shelter, and non-childish military fears. And the boys and girls sang her unusually, "with a tear." You don't always know how your song will work..."

Only "Old Men" Are Going Into Battle (Russian: В бой идут одни «старики», romanized: V boy idut odni "stariki"; one of the meanings of the Russian idiom 'old man' is 'most experienced person') is an iconic 1973 Soviet war drama black-and-white film produced in the Ukrainian SSR about World War II fighter pilots. Plot Summary. The movie begins in the late summer of 1943 during the Battle of the Dnieper. The pilots of the 2nd Squadron of the Fighter Aircraft Guard Regiment are returning from the mission. However, the commanding officer, captain Titarenko, also known as «Maestro», is missing. Nobody (except for Makarych, the technician) even hopes he survived, since he didn’t even have enough fuel, but then suddenly the German Messerschmitt Bf 109 shows up and lands on the airfield. It turns out that Maestro was shot down behind enemy lines, however, the advancing USSR infantry saved him and he received a war trophy aircraft on an advance airfield. The next day the reinforcements come to the regiment and are being assigned to the squadrons. Several newcomers, including Second Lieutenant Aleksandrov and Third Lieutenants Shchedronov and Sagdullayev, ask for a place in the 2nd Squadron. Titarenko inquires about their musical skills: 2nd Squadron is also known as the «Singing Squadron», as during free time they perform as an amateur orchestra with the commander himself acting as conductor. Shchedronov sings «Darkie», earning the corresponding nickname. Having only had a brief chat with the reinforcements, the «old men» take off to intercept a group of German bombers. Experienced pilots don’t allow the newcomers with them, saying only «you’ll have your share of fighting soon enough»: they know that the new pilots have only received basic training due to a shortened curriculum and are not battle ready. They all return to the airfield safely, however, Maestro is furious: his wingman, First Lieutenant Skvortzov, left the battle without permit, and it appears he did so not for the first time. They have a serious discussion and it turns out that during the Battle of Kursk Skvortzov had barely survived an encounter with a German ace pilot and since then has had a subconscious fear of dogfights. Depressed Skvortzov asks to be released from an active duty and to be enlisted to an infantry regiment instead, however, Titarenko burns the report, deciding to give his friend another chance. In between missions the 2nd Squadron rehearses performances. Even Aleksandrov, despite his aversion to music, plays the tambourine and soon begins to run the rehearsals in lieu of the captain. Eventually, the newcomers are allowed to fly. Aleksandrov crash lands his aircraft, destroying it in the process and receives a strict reprimand from the captain. However, he doesn’t take it seriously and light-heartedly goes to the field to catch some grasshoppers. Enraged Titarenko suspends the lieutenant from flying and puts him on «eternal airfield duty», while the rest of the officers give Aleksandrov the nickname «Grasshopper». Titarenko leaves on a reconnaissance mission on a trophy Messerschmitt. In his absence, a light bomber Polikarpov Po-2, piloted by female officers Zoya and Masha, takes a forced landing on the airfield. Sagdullayev promptly falls in love with Masha, earning himself the nickname «Romeo». Titarenko, who has returned from his recon mission, confirms that a large group of German tanks is nearby. When he decides the new reinforcements (except for Grasshopper) are battle ready, he performs another reconnaissance flight. He finds out that the Germans have camouflaged their tanks with hay bales and sheds, but he’s shot down on his way back. Maestro is saved by an allied infantry, which, however, mistakes him for a German pilot. They aren’t persuaded by his Soviet uniform nor by his fluency in Russian, and attempt to lynch him. However, when an infantryman slaps Titarenko in the face, he punches the soldier back, knocking him to his knees and answered in a mat manner-that reassures the rest of the soldiers, who are sure that a German don’t know the lexis like this. The infantrymen gift the captain a horse, which he uses to get back to the airfield. Having returned, he learns from Makarych that during his absence Darkie has been killed: he was practicing cooperative actions with his partner and was shot down by a Focke-Wulf Fw 190 ace. In the meantime, Romeo confesses his love to Masha. Titarenko joins CPSU and receives a task to lead the newcomers by example and to demonstrate to them the vulnerability of Göring’s ace pilots. Maestro challenges the Germans to a «joust», but at the very beginning of the fight he decides that this is the last opportunity for his wingman to prove himself. Titarenko feigns a weapon malfunction, putting himself in a mortal peril, and Skvortzov overcomes his fear and comes to the rescue, shooting down one of the enemy aircraft. The next day, German air forces perform a raid on the airfield. Still suspended from flights, Grasshopper steals the commander’s fighter, takes off and shoots down an enemy aircraft, saving the base. The squadron gives a performance, which, among others, is attended by female pilots from a nearby regiment. Skvortzov performs the song Moonlight Night. The next day he performs a suicide ramming attack, directing his flaming aircraft at an enemy railway. More time passes. The USSR territory is almost completely liberated from German occupation. The «old men» are preparing for battle, however, this now includes Romeo (First Lieutenant, Maestro’s wingman) and Grasshopper (First Lieutenant, 2nd Squadron commander), while Maestro himself is now a major and a regiment commander. Fifteen minutes before takeoff, Romeo asks Maestro’s permission to get married (since both he and Masha could be shot down any day) which Meastro gives right away. Once again the «old men» take off, and the newcomers from the reinforcements are left on the airfield. The regiment returns from the mission, but it turns out that Romeo is heavily wounded. He manages to make it to the airfield and lands safely, but succumbs to his wounds right afterwards. When Maestro, Makarych and Grasshopper go to the female regiment to deliver the sad news to Masha, they learn that both Masha and Zoya were also killed that day. Makarych and Titarenko locate the women's graves and promise to return here and sing «Darkie» once again «from the beginning to the end» once the war is over.

‎Songs of the Roads of War. Oh, the roads...‎‎Vladimir Kalabukhov‎, ‎ THE STORY OF THE SONG "EH, ROADS..." ‎ This story, prepared with the participation of the author from the national literary portal PROZA.RU Sergey Shramko and the editorial office of the newspaper "My City - Zheleznodorozhny", began in 2015 the journalistic cycle of stories "Songs of the Roads of ‎‎ War". ‎‎ In large libraries there is a multi-volume edition "Our grandfathers are glorious victories. ‎‎ Anthology of Russian Military Songs. The author – Yaroslavl composer and musicologist, retired Colonel Yuri Evgenyevich Biryukov turned 85 on February 8, 2020. Here's what he said about the‎ song "Eh, dear..." This song is like a confession about the suffering and experienced, thinking about what we had to go through and what our people had to endure in that war. ‎‎ This song was written shortly after the end of the Great Patriotic War for the theatrical program "Victorious Spring", which was conceived and implemented by the director Sergei Iosifovich Yutkevich (1904 - 1985). ‎All the songs in it, according to the director's plan, were to be connected by a certain plot outline. And therefore, their themes and even the nature were planned and agreed upon in advance. The future authors of "Roads" – the poet Lev Ivanovich Oshanin and the composer Anatoly Grigoryevich Novikov – were presented with a long list of them, typed on a typewriter, and they began to work. ‎ Oshanin recalls the‎ time of the song's creation: "Then it seemed that everything that could be written about the war had already been written. Novikov and I, in particular, wrote a lot of military songs. Perhaps that is why we were carried away by the topic, which was formulated sparingly: "Under the sound of the wheels", and in brackets there was "Soldiers go to the front". ‎There has never been a song like this ‎ before...‎ We were concerned about waiting for the fight, feeling it, being ready for ‎‎ it. The song was supposed to be a reflection on what was to come and what was happening, about the bitterness of loss and about the belief in victory. Such a song, we thought, could only be written in 1945 from the standpoint of knowing everything that happened in the war." Although the authors of "Roads" did not take a direct part in hostilities during the Great Patriotic War, they happened to visit the front more than ‎ once. ‎For the composer, for example, a trip to the places of battles on the Kursk Arc, near Oryol and Belgorod and meetings there with soldiers who had just defeated the enemy in a fierce battle turned out to be especially memorable. ‎L.I. Oshanin spent many months among the soldiers on the Western, Karelian and 3rd Belorussian fronts, the result of which were songs that were widely used in the ‎army. "Roads" were born," the poet continues his story, "when under Jizdra we were lying in a field, overtaken by the bombing, and the brown-haired lieutenant, who fell nearby, no longer got ‎up. "Roads" were born when in a dugout at the height of the Hat above the Western Lyceum, mark Grigoryevich Fradkin and I showed the song "In the White Expanses", and it was broken by a mine exploding under the window. The "roads" were born when half of the personnel of the anti-tank brigade were knocked out in ten days, and it changed position every night to meet the enemy's tank avalanche...I remember looking for one line in a song: "A shot is going to ‎come. The raven is circling... Your buddy in weeds..." That's the place. - Is he dead? Killed? Mowed down? Torn out of life? Finally it was found: "Your friend lies in the weeds of the inanimate..." This "inanimate", I think, said more than a lot of words‎ that could have been put in this place..." This line seems to have absorbed the whole war. As well as the song as a whole. ‎The first performer of "Roads" was the soloist of the NKVD ensemble Ivan Dmitrievich Shmelyov (1912 - 1960). ‎Then it was picked up by other soloists and ensembles. "Oshanin and I," A.G. Novikov recalled, "began to be invited to schools. I sat down at the piano, the poet and I sang "Roads", and the guys sang this soldier's song with us. Then we were leaving school, and I asked Oshanin: "What happened, why do children, schoolchildren sing this song, it is a soldier's song?" ‎And then we realized that the guys with their heart very strongly, deeply feel these military adult ‎ roads. The song contains for them a funeral for their father, and a bomb shelter, and non-childish military fears. And the boys and girls sang it unusually, "with a tear." You don't always know how your‎ song will "work" ..." "Eh, dear..." A distant echo of the unforgettable, harsh and difficult war years echoes in the heart and memory of those who sing or hear her familiar chant painfully. ‎"Of the songs I wrote," Anatoly Grigorievich summed up his long-term and fruitful activity in the song genre, "the most beloved is "Roads"... ‎‎ It is very close in structure to the folk song. Remember, "Oh you, night..." The same deep sigh at the beginning, defining the basic mood of the song-memory." What is true is true: "We cannot forget these dear things." ‎ OH, THE ‎ ROADS... Oh, the roads... ‎ Dust and fog. Cold, anxiety‎ Yes steppe weeds. You can't‎ know‎ Your Share:‎ Maybe you'll fold your wings In the Middle of the steppes. ‎ Dust is swirling‎ under the‎ boots‎ – the, the fields – And the flames‎ ‎ are raging all around Yes the bullets are whistling. ‎ Oh, the roads...Dust yes‎ fog, Cold,‎ anxiety Yes steppe weeds. A shot will‎ come, the‎ Raven is circling, Your friend lies in the weeds‎ of the Inanimate. And the road then‎ rushes, gathering dust,‎ swirling,‎ And all around the earth smokes,‎ A strange land! Oh, the roads... Dust yes‎ fog, Cold,‎ anxiety Yes steppe weeds. The land is‎ pine, the‎‎ Sun rises -‎ ‎ At the porch of the native Mother of the son is waiting. And in boundless ways‎ – steppes,‎ fields – All look‎ after us Native eyes. Oh, the roads... Dust yes‎ fog, Cold,‎ ‎ anxiety Yes steppe weeds. Snow, wind‎‎ Let's remember, friends. We cannot‎ forget these roads. On the Internet you can find several video clips of the performance of this song by soloists and choral‎ groups. "Eh, roads...", for example, sing:‎ – Georgy Pavlovich Vinogradov (1908 – 1980), lyrical tenor; - Ivan Dmitrievich Shmelyov (1912 – 1960), pop singer; – Muslim Magomayev (1942 – 2008), baritone, People's Artist of the USSR; – soloists and choir of the Academic twice Red Banner, the Order of the Red Star of the Song and Dance Ensemble of the Russian Army named after A.V. Alexandrov. Watch the video clip and listen to the song "Eh, dear..." performed by an army‎‎ ensemble: http://www.youtube.com/watch?v=lrCxuYL_NAM. Return to the content of the collection "Songs of the Roads of War" – http://www.proza.ru/2015/02/16/1876. 2015 – 2020, ‎‎‎© Copyright: ‎‎Vladimir Kalabukhov,‎‎2015‎, Certificate of Publication No. 215012501204‎.

Elena Polyudova Soviet War Songs in the Context of Russian Culture 2016 p.149 "L. Oshanin recollected: The song 'Roads' was born when we were lying down on the battlefield under Zhizdra, overtaken by the bombing attack; and a flaxen-haired lieutenant who had fallen next to us, never got up. ... A soloist of the Ensemble Ivan Shmelev was the first singer to perform “Roads." It was then picked up by other soloists and ensembles. Then the song became popular and well-known even for school children. ." 

https://lera--komor-livejournal-com.translate.goog/1569684.html?_x_tr_sl=ru&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc///HISTORY OF THE CREATION OF THE SONG "OH, DOROGI". AUTHORS, INTERESTING FACTS///Apr. 2nd, 2016 at 7:15 AM///As Oshanin recalls, “all the lines of the song turned out to be very short. It was very difficult to put natural and capacious words on them and make these words tell.”///During the war years, there was a song and dance ensemble of the NKVD troops in Moscow - the second most famous after the Alexandrov Ensemble. He was distinguished, in particular, by the fact that he created theatrical programs, where all the songs were connected by one or another plot line. It was then directed by director S. Yutkevich.///And in 1945, this ensemble turned to A. Novikov and me with a request to write one or two songs for a new program. The themes of the songs were predetermined, and we received a long typewritten list of them.///Then it seemed that everything that could be written about the war had already been written. And Novikov and I wrote a lot of military songs. Maybe that's why we were captivated by the topic, which was formulated sparingly: "To the sound of wheels," and in brackets it was - "Soldiers go to the front."///There has never been such a song.///The ensemble performed the song. They met it enthusiastically, but the authors were still unhappy. The authors felt what the song lacks so that it reflects its theme even more piercingly. The song was thoroughly reworked, and, by the way, it began to be called not “Soldier's Roads”, as at first, not “Eh, Roads”, as later, but simply “Roads”. And although the line in this song is really short and there are few words in it, but each word weighs a lot. Lots of.///Roads, dust, cold... All this is voluminous, everything includes many concepts, associations, and this was necessary for the new song, because...///Whether the wind  is snowing Let us remember, friends, We cannot forget these roads.///The melody flows calmly, evenly, but this calmness is apparent, behind it is the trembling of a heart excited by memories. Memories are different, and among them there are many bitter, terrible ones ... Therefore, wherever “Roads” sound, in whatever country they are sung, even where the words require translation, they listen to the song without moving. What is its strength? Probably, it is not bitterness that wins in the song, but light romance. And radiates its melody, full of courageous lyrics.///We were worried about the topic of waiting for the fight, feeling it, being ready for it. The song was supposed to be a reflection on the future, on the bitterness of losses and on faith in victory. Such a song, we thought, could only be written after the Victory, in 1945, from the standpoint of knowing everything that happened in the war.///The song was born at the piano. First, four short musical lines appeared, and immediately approximately, then almost exactly, lines of verses lay on them: Oh, roads, -  Dust and fog, Cold, anxiety Yes, steppe weeds.///Then the wide and somewhat sad intonation of this chorus-singal required a fast motorized middle part of the song: And the road rushes on  , gathering dust, swirling ...///All lines of the song were very short. It was very difficult to put natural and capacious words on them and make these words tell. But the experience helped a lot of associations. Although, due to bad eyesight, I was completely removed from the military register, I was on business trips on the Western, 3rd Belorussian and Karelian fronts a lot. More than once got into risky situations. I had to see death nearby.///I remember looking for one line in a song: The shot will fire. The raven is circling... Your friend is in the weeds...///This place... What is he - dead? Killed? Knocked down? Taken out of life? Finally found: Your friend in the weeds Inanimate lies ...///This - "inanimate", it seems to me, said more than a lot of words that could fall into this place.///I won't, and I can't, if I wanted to, give examples of searches and words and lines - I don't have drafts of the song. I can only say that for me this must have been the first work in which I truly understood the difficulty and happiness of finding a song word.///We have finished the song. It was accepted and praised. And here we are at the premiere of a new program.///And they sang it not God knows how. But there was a long silence in the hall. Then he exploded and demanded that the song be repeated. And I, listening to her, looked at the hall, and one thing became clearer to me: this is not the song “Under the sound of wheels” at all. We ourselves did not understand what we wrote, it is still a semi-finished product, a blank, half a song.///I grabbed Novikov by the hand: - Stop the song! - What are you, - answered Novikov, - I have already handed over the clavier to the publishing house. And I again: - Stop the song for a week. It is wrong. Novikov muttered displeasedly: - You have some kind of whim ...///But by his cunning squint, I felt that he was beginning to understand me.///And it was already clear to me - this is the song of the outcome of the war. Whether we wanted to or not, some inexplicable, but true note of time rang in her.///For a month I kept the song in search of the solution that I saw then in the concert hall. And then we released it again. And it was called at first "Soldier's Roads". Then "Oh dear." Finally just "Roads".///Ah, the roads...  Dust and fog, Cold, anxiety, and steppe weeds. You can't know your Share: Maybe you'll fold your wings In the middle of the steppes. Dust curls under boots - steppes, fields, And flames rage all around Yes, bullets whistle. Ah, the roads...  Dust and fog, Cold, anxiety, and steppe weeds. The shot will strike,  the raven is circling, your friend lies in the weeds, lifeless.///One Kazakh later assured me that this was a Kazakh folk song.///By the way, about formal song laws. When "Roads" had already appeared, I suddenly noticed with surprise that the quatrain - the chorus, which is the beginning of each verse, because it does not complete, but opens the song - consists of only nouns. And the verbs, on the other hand, seemed to jump into the middle part of the song. This is probably the only case in poetry. And when you think about why it happened, why was it needed? The answer is simple and natural. The line here is short, there are few words in it, and each should weigh a lot. "Roads - Dust - Cold" - all this is voluminous, includes many visual, auditory, sensual and all sorts of other concepts and associations. So it was necessary for this song. Because -Is it snow, wind, -  Let's remember, friends ... ... We cannot forget these roads.///Such a case is known. Shortly after the war, the lecturer-musicologist spoke in the camp of German prisoners of war. He gave a lecture on Soviet music, on its humanistic essence, and completed the performance with a song by Novikov and Oshanin, which he sang himself without translating into German. And suddenly this, frankly, a very specific audience literally froze. And then people reached for their scarves... What a powerful force lies in the melody of a song about roads, about our soldiers' roads, if even yesterday's enemies it made them think about their path, bloody and inglorious. To think - and again, again and again, to condemn this path.///You can't know your///Share, -  Maybe you'll fold your wings In the middle of the steppes.///via///Original post and comments on LiveInternet.ru

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