כדי לשחזר את השיר בשפה המקורית אם אינו מופיע לאחר לחיצה על שם השיר המסומן כאן בקוו תחתון או כדי למצוא גירסות נוספות העתיקו/הדביקו את שם השיר בשפת המקור מדף זה לאתר YOUTUBE
To restore the song in the original language if it does not appear after clicking on the name of the song marked here with a bottom line or to find additional versions Copy/Paste the song name in the original language from this page to the YOUTUBE website
התרגומים לאנגלית נעשו באמצעות המנוע "מתרגם גוגל" והתרגום הועתק לאתר בצורתו המקורית ללא עריכה נוספת
The English translations were done using the "Google Translate" engine and the translations were copied to the site in their original form without further editing.
Notes written by Izzy Hod: There Far Across the River, is one of the poems written about Marshal Semyon Mikhailovich Budyonny, who was the commander of the Red Army, in the Russian Civil War and in World War II. The song was considered original for a long time, but, in 2000, it was claimed in a comprehensive study that the song is an adaptation of an earlier song, called, There Across the Liu River, which describes events from the Russo-Japanese War, in 1904-1905, an assault fell, by a Cossack unit, on a military installation called Linkau, at the mouth of the Liu River, in Japan. The song's melody even served as a basis for several other songs, with a different text. Therefore, there is a tendency to see the song as a folk song, more than a song with authors. One of the versions written in this tune concerns a unit of mounted warriors who encountered an Arab ambush in the Sinai desert in Israel, stormed the ambush and a warrior named Rabinowitz was wounded and near his death he freed his horse with the request that he will tell to his family and friends about his heroism that caused his death. Marshal Semyon Mikhailovich Budyonny, was a Russian military man and cavalry commander, known for his distinction in the Russian Civil War [which began in 1918] and his service in the Polish-Soviet War [which began in 1919-1920]. In this war, both sides committed war crimes against civilians, including the Jewish population. Budyonny, was among Stalin's favorite military personnel, which resulted in his surviving the great purges. After the German invasion of the Soviet Union, known as Operation Barbarossa [World War II which began in 1939], Budyonny commanded large forces of the Red Army in Ukraine and is directly responsible for the defeat at the Battle of Kyiv, in which hundreds of thousands of Soviet soldiers were defeated and subdued, a defeat which is one of the most severe defeat in World War II and in the history of warfare in general. After the defeat, Budyonny continued to command forces in the Red Army, although, from 1943, he had the command of the cavalry corps, a meaningless appointment, in the war that was sanctioned, for armored forces and tanks. Budyonny is considered, despite his faults, to be a popular and beloved figure. He survived the upheavals of the various regimes in the Soviet Union and died in 1973, after enjoying a long and peaceful retirement. The literal description of the words of the song is as follows, Across the river the lights of the enemy houses were visible in the twilight of the sky. A company of scouts marched forward quietly towards the battlefield and they are sad and worried. And so, they crossed all of, Ukraine and at that night across the river the enemy stretched out and their bayonets twinkled. Here is a warrior rushing into battle without any hesitation and without fear and the battle is covered with blood of thier warrior comrades. Suddenly the warrior's upright head dropped to his chest, he supported his wounded head with his hands but a lot of blood flowed from his heart. He knelt beside his black horse and with his brown eyes already closed, he released his horse and sent him galloping back home as a testimony to the heroism of the warriors who remained in battle to the end. The battle ended, in the enemy houses across the river, the light went out. Dawn started to rise and the sky illuminated the way of the company of warriors, those who survived the stormy battle, to Budyonny's camp.
Red Army alteration of the Cossack song of the Russo-Japanese War "Lights lit up behind the Liaohe River" about the unsuccessful assault by the Cossacks on the city of Yingkou in December 1904 (not everyone recognizes the authenticity of "Beyond the Liaohe River", some consider it a modern fake; in this case, Kool relied on other songs on this motif). On this melody earlier sang convict song "Only in Siberia will dawn" (2nd half of the XIX century) and, presumably, the Gypsy romance "Andaluzyanka" on the poem by Vsevolod Krestovsky, written in 1862. In "Andalusian" there is a text parallel with "There in the distance, beyond the river": "I will tell him how this night was hot, how the moon lit up." On the Internet there is a similar Red Army "Denikin" version, created in our days. In 2012, from a descendant of the Orenburg Cossacks recorded Dutov version, also doubtful. But it is possible that during the Civil War some red and white songs on this motif still existed. Many folklore versions of Kool's song were recorded. Its popularity caused the appearance of parodies: "There in the distance, by the river gathered brothers...", a song about the Israeli army ("And for free the squad jumped on the enemy, A bloody fight ensued. And the young suddenly shook his head, Rabinovich was wounded in the srak. He fell between the legs of a black horse And closed his brown eyes..."), etc. You can improvise and insert into the song any suitable heroes.
It was established approximately in the 1990s. The song "There, far behind the river" by Kool, in turn, is a reworking of the Cossack song of the Times of the Russian-Japanese War of 1904-1905. "Behind the Liaohe River the Lights Lit Up", themotif of which goes back to the convict song "Only in Siberia will dawn be engaged".
"There in the distance, beyond the river" is a popular Soviet song that tells about the battle of a detachment of Budyonn troops during the Civil War. The lyrics were written by Nikolai Kool in 1924; author of music Alexander Alexandrov. There are also several more songs with the same melody, created by different authors at different times. A number of researchers believe that the music was folk-pitiful, the texts to it were composed by different authors-like any folk song, it does not have a specific original author, but only reflects the context of historical and geographical events, the participants of which are the writers.
"There in the distance, across the river". The author of the lyrics is the poet and translator, Estonian Nikolai Martynovich Kool. In 1924, he published a poem under this title in the newspaper of the city of Kursk under the pseudonym "Kolka-doctor". The song was performed as a drill, since there were few new Red Army songs at that time.
"Only in Siberia will dawn be engaged". According to Nikolai Kool, he, composing his poem, remembered the old song of convicts "Only in Siberia will dawn be engaged", which gave him a certain rhythmic pattern. This song with a similar motif convicts sang in the XIX century.
"Beyond the Liaohe River". In the issue of the"Parliamentary Newspaper"of June 16, 2000, an article by Vitaly Aprelkov was published, in which he claimed that the song "There in the distance, beyond the river" is a remake of the Cossack song "Beyond the Liaohe River", which appeared during the Russo-Japanese war. Allegedly, the lyrics of the song "Beyond the Liaohe River" refer to the raid on Yingkou during the Russo-Japanese War. However, reliable earlier publications of the lyrics of the song, which was published in the "Parliamentary Gazette" in 2000, have not yet been found; perhaps "Beyond the Liaohe River" is nothing more than a post-Soviet reworking of Kool's song.
Semyon Mikhailovich Budyonny[1] (Russian: Семён Миха́йлович Будённый, IPA: [sʲɪˈmʲɵn mʲɪˈxajləvʲɪdʑ bʊˈdʲɵnːɨj] (listen); 25 April [O.S. 13 April] 1883-26 October 1973) was a Russian cavalryman, military commander during the Russian Civil War, Polish-Soviet War and World War II, and a close political ally of Soviet leader Joseph Stalin.
Budyonny was the founder of the Red Cavalry, which played an important role in the Bolshevik victory in the Russian Civil War. As a political ally of Joseph Stalin, he was one of the two most senior army commanders still alive and in post at the time of German invasion of the USSR in 1941, but had to be removed from active service because of his unfitness to command a modern army. After being told of the importance of the tank in the coming war in 1939, he remarked, "You won't convince me. As soon as war is declared, everyone will shout, "Send for the Cavalry!".
Semyon Mikhailovich Budyonny ( April [O.S. 13 April] 1883-26 October 1973) was a Russian cavalryman, military commander during the Russian Civil War, Polish-Soviet War and World War II, and a close political ally of Soviet leader Joseph Stalin.Budyonny was the founder of the Red Cavalry, which played an important role in the Bolshevik victory in the Russian Civil War. As a political ally of Joseph Stalin, he was one of the two most senior army commanders still alive and in post at the time of German invasion of the USSR in 1941, but had to be removed from active service because of his unfitness to command a modern army. After being told of the importance of the tank in the coming war in 1939, he remarked, "You won't convince me. As soon as war is declared, everyone will shout, "Send for the Cavalry!". He became a cavalryman reinforcing the 46th Cossack Regiment during the Russo-Japanese War of 1904-1905. After the war, he was transferred to the Primorsk Dragoon Regiment. In 1907, he was sent to the Academy for Cavalry Officers in the St. Petersburg Riding School. He graduated first in his class after a year, becoming an instructor with the rank of junior non-commissioned officer. He returned to his regiment as a riding instructor with a rank of senior non-commissioned officer. At the start of World War I, he joined a reserve dragoon cavalry battalion.
During World War I, Budyonny was the 5th Squadron's non-commissioned troop officer in the Christian IX of Denmark 18th Seversky Dragoon Regiment, Caucasian Cavalry Division on the Eastern Front (Vostochny front). He became famous for his attack on a German supply column near Brzezina, and was awarded the St. George Cross, 4th Class. However, there was general ineptitude among the officers under whom he served (primarily Caucasian aristocrats who received commissions based on their social standing). In November 1916, the Caucasian Cavalry Division was transferred to the Caucasus Front, to fight against the Ottoman Turks. He was involved in a heated confrontation with the squadron sergeant major regarding the officers' poor treatment of the soldiers and the continual lack of food. The sergeant major struck out at Budyonny, who retaliated by punching the ranking officer, knocking him down. The soldiers backed Budyonny during questioning, claiming that the sergeant major was kicked by a horse. Budyonny was stripped of his St. George Cross, though he could have faced a court martial and death. Budyonny would go on to be awarded the St. George Cross, 4th class, a second time, during the Battle of Van. He received the St. George Cross, 3rd class, fighting the Turks near Mendelij, on the way to Baghdad. He then received the St. George Cross, 2nd class, for operating behind Turkish lines for 22 days. He received the St. George Cross, 1st class, for capturing a senior non-commissioned officer and six men. After the Russian Revolution overthrew the Tsarist regime in 1917, Budyonny was elected chairman of the squadron committee and a member of the regimental committee. When the Caucasian Cavalry Division was moved to Minsk, he was elected chairman of the regimental committee and deputy chairman of the divisional committee. Returning to Platovskaya, Budyonny was elected deputy chairman of the Stanista Soviet of Workers', Peasants', Cossacks' and Soldiers' Deputies on 12 January 1918. On 18 February, he was elected to be a member of the Salsk District Presidium and head of the District Land Department. On the night of 23 February, Budyonny organized a force of 24 men to retake Platovskaya from the white guards, but Budyonny was soon joined by a large number of new recruits. By morning, they had freed 400 inhabitants and killed 350 White Russian soldiers. His force now consisted of 520 men, from whom, on 27 February, he formed what was later recognised as the first 120-strong squadron of red cavalry. Eventually he was elected battalion commander. Budyonny met Stalin and Voroshilov in July 1918. Both supported the idea of creating a cavalry corps to fight on the Bolshevik side in the Russian Civil War; but when Leon Trotsky, the People's Commissar for War, visited south Russia soon afterward, he told Budyonny that cavalry was "a very aristocratic family of troops, commanded by princes, barons, and counts." Despite Trotsky, the 1st Socialist Cavalry Regiment was formed in Tsaritsyn in October 1918, commanded by Boris Dumenko, with Budyonny as deputy commander. Budyonny joined the Communist Party of the Soviet Union (CPSU) in 1919. During the summer of 1919, while the Red Cavalry were in action against the White General Anton Denikin, Trotsky described them contempuously as "Budyonny's corps-a horde, and Budyonny-their Ataman ring leader...He is today's Stenka Razin, and where he leads his gang, there will they go: for the Reds today, tomorrow for the Whites." However, in October 1919, Budyonny pulled off a spectacular victory when, in the greatest cavalry battle of the civil war, he attacked and defeated the White army corps commanded by Konstantin Mamontov. On 25 October, Trotsky sent a dispatch forecasting that the White army in the south would never recover from this defeat, and hailing Budyonny as "a true warrior of the workers and peasants". When Poland declared independence, there was no agreement between its government and the Soviet authorities over where the border would be. In April 1920, Budyonny's cavalry was assigned to driving the Polish army out of what is now Ukraine. On 5 June, he took part in recapturing Kiev, and over the next few days successfully drove the Poles westward. At the start of the war with Poland, he was assigned to the southern front, which Stalin commanded. On 15 August, he asked the commander-in-chief of Soviet forces in Poland, Mikhail Tukhachevsky, for authority to swing north and assist in capturing Warsaw. With Stalin's agreement, he attempted to capture Lviv first. Unsuccessful, he eventually diverted to the North but by that time Tukhachevsky's forces had been driven back, forcing a general retreat. After Budyonny's army was defeated in the Battle of Komarów (one of the biggest cavalry battles in history), he was forced to withdraw onto Soviet-held territory. Budyonny took part in the reconquest of Crimea, the final phase of the Russian Civil War. In July-September 1941, Budyonny was Commander-in-Chief (главком, glavkom) of the Soviet armed forces of the Southwestern Direction (Southwestern and Southern Fronts) facing the German invasion of Ukraine. This invasion began as part of Germany's Operation Barbarossa which was launched on June 22. Operating under strict orders from Stalin (who attempted to micromanage the war in the early stages) not to retreat under any circumstances, Budyonny's forces were eventually surrounded during the Battle of Uman and the Battle of Kiev. The disasters which followed the encirclement cost the Soviet Union 1.5 million men killed or taken prisoner. This was one of the largest encirclements in military history. Because of his exceptional civil war record, he continued to enjoy Stalin's patronage and suffered no real punishment for the disaster in Kiev. After the war, he was appointed USSR Deputy Minister for Agriculture, responsible for horse breeding. When he retired, he retained his membership of the Supreme Soviet and his status as a Hero of the Soviet Union. After his death from a brain hemorrhage in 1973, aged 90, he was buried in the Kremlin wall with full military honours. Pallbearers at his funeral included the General Secretary of the CPSU Leonid Brezhnev and the USSR Minister for Defence, Marshal Grechko.
...And then this: Fires were lit over the Sinai River A hundred young soldiers galloped to reconnaissance in Cairo They rode in silence in the silence of the night Across the wide Israeli steppe Suddenly, in the distance, by the river Bayonets flashed-These were Arab chains And for free the detachment Ride on the enemy A bloody fight ensued And the young Hades Suddenly drooped his head - Rabinovich was wounded in ... (back) He fell between the legs of a black horse . The horse covered his brown eyes. “You are a black horse ... take it out, dear...After all, I died, but I finished - not very well.”...
The song "There, in the distance, beyond the river." Song history. The authors. Texts. Performers
The other day I downloaded and reviewed a wonderful film in amazingly restored quality "Republic of ShKID" , in which several works in the genre of so-called "orphan songs" - popular before the revolution and in the 20s of the last century - sound like an excellent addition. Thinking about them, I also remembered the “prisoner songs”, a rather bright representative of which will be discussed today.
In 1924, a certain Estonian poet and translator Nikolai Kool presented his new work to friends - the poem "The Death of a Komsomol Member" ... I will try to briefly tell what happened before and after.
Nikolai Martynovich Kool
Nikolai Martynovich Koolwas born on December 4, 1903 in the Borovichi district of the Novgorod province and until his sixteenth birthday he lived on a farm near the village of Volok, with his father, an Estonian tenant of a small estate, Martin Kool. In 1919, Kool left his father's house, as he wrote "escaping hunger", and ended up in Belgorod, where he soon became a fighter of the CHON (Special Purpose Units - military party detachments in 1919-25 under party organizations to help the newly organized Soviet authorities in the fight against counter-revolution) and simultaneously abandoned the "father-fist". The guy, as they say, was noticed by the special officers, who “adopted” him again. Leaving stories about the “bloody gebnya” and other horrors of the surplus appraisal, I can only say that Kool succeeded very well in his service, joined the Komsomol committee and headed the district political education. Maybe, received a wound during one of the “special operations”, maybe something else hit the young reckless head, but the young soldier suddenly discovered a “deep literary gift” - the young man wrote the script for the so-called “Komsomol Easter”, according to which the Komsomol members , harnessed to a wagon, they had to carry a doll depicting God with an appropriate inscription for especially dull ones. Having collected the required number of people who wanted to “protrude”, the doll, like a scarecrow at pagan festivities, was planned to be trivially burned. To increase the “fun” Kool came up with the appropriate words: “Down with the monks, rabbis, priests! We will climb into the sky - we will disperse all the gods! Fanatics have always been valued in certain narrow circles of specialists of a special kind - Kool was also noticed and sent to study in Kursk, where, after graduating from the provincial soviet party school, he was appointed head of the political education department in the Kursk district committee of the Komsomol in 1923. Then he decided to develop his literary talents. The poet wrote:
“My first story, The Bow, was published in the May Day issue of Kurskaya Pravda in 1923. After that, many of my poems, notes and raeshniks were published in Kurskaya Pravda and in its weekly supplement Komsomolets. I often signed them with the pseudonym "Kolka Pekar".
And finally, in 1924, the event to which this article is devoted took place - Nikolai Martynovich wrote his immortal verses. Evgeny Dolmatovsky found these verses naive and very sincere - in them the author used a plot often used in various folk songs, in which a dying warrior asks his faithful horse or friend to convey something to someone, naturally pathos-heroic, in order to give his death meaning. Kool himself said that when composing his poem, for some reason, he recalled the old song “Only in Siberia will dawn dawn”, which gave him a certain rhythmic pattern. In April of the same year, in the USSR, for the first time after the end of the Civil War, they conducted the first conscription into the regular army, so to speak, in peacetime. Nikolai Kool was among the first conscripts. It was then that the poem found by the recruit in his secret pockets, which was later used as a drill song, came in handy. The song was sung by the Red Army soldiers, marching on the Khodynka field in Moscow, from where it scattered throughout the country, after which it was considered “folk” for quite a long time - only years later Kool proved his authorship.
As a result, somewhere in 1928, the well-known professor at the Moscow Conservatory, regent of the Cathedral of Christ the Savior, outstanding choir conductor and composer Alexander Vasilyevich Alexandrov "creatively reworked" the Red Army folk song, and the world saw the finished work - the song "There, in the distance, across the river . "
Let's assume we cleared up a few things.
I'm afraid that Nikolai Martynovich was a little cunning when talking about the source of his inspiration, mentioning only the song of the exiles - namely, such songs were attributed to the genre of "prisoners", singing not only "grief and suffering", but simply causing pity for the heroes of the songs . The rhythm of the pitiful "source" of an unknown author turned out to be a little different:
“Only in Siberia will the dawn break,
In the villages the people are awakening.
In the transit yard, the ringing of shackles is heard -
This is the party going on its way.
At the same time, the melody differs only slightly from Alexandrov's processing. Therefore, the following “interim version” is quite worthy of attention - the song “Beyond the Liaohe River” , which could also serve as a guiding thread for Kool.
Pavel Ivanovich Mishchenko
... It happened during the Russo-Japanese War. The consolidated Cossack detachment of General Pavel Ivanovich Mishchenko , by the way, a native of Dagestan, was sent on a raid on the rear of the Japanese. The commander of the Manchurian army, Alexei Nikolaevich Kuropatkin , identified sabotage on the railway and the capture of the port of Yingkou as the main goals of this raid . With a detachment of about 7,500 sabers, on December 26, 1904, Mishchenko safely crossed the Liaohe River., penetrated deep into the Japanese rear and approached Yingkou. Let's pay tribute to Japanese intelligence, which knew about the goals and objectives of the Mishchenko detachment. Accordingly, the Cossacks met stubborn resistance - several hours of battle did not bring any result to the Russian fighters, and, avoiding the encirclement of suitable Japanese reinforcements, the detachment retreated to the north, destroying the railway station along the way. However, near the village of Sinyupuchenza, the Cossack army was nevertheless surrounded, but having shown miracles of stamina and courage, the fighters threw back the Japanese and returned to the location of the Russian army. Although this raid did not have a positive meaning, the Mishchenko detachment was discovered and eventually pushed back to the western bank of the Liaohe River, which gave the Japanese the right to protest against Russia in violation of international legal norms, since this bank of the river was already the territory of China, that is, completely inviolable - the Cossacks did achieve some results. During the 8 days of the raid, they destroyed about 600 enemy soldiers, dismantled two sections of the railway track, burned several food warehouses, interrupted communication via telegraph and telephone lines, derailed two trains, captured several dozen prisoners and hundreds of carts with various property. However, the detachment also suffered heavy losses - more than 400 Russian soldiers died. Soon, the Cossacks dedicated their song to this raid, quite possibly, however, being a skillfully executed modern craft of the “new Cossacks” to improve their image and raise their “historical role”: they burned several food warehouses, interrupted telegraph and telephone communications, derailed two trains, captured several dozen prisoners and hundreds of wagons with various property. However, the detachment also suffered heavy losses - more than 400 Russian soldiers died. Soon, the Cossacks dedicated their song to this raid, quite possibly, however, being a skillfully executed modern craft of the “new Cossacks” to improve their image and raise their “historical role”: they burned several food warehouses, interrupted telegraph and telephone communications, derailed two trains, captured several dozen prisoners and hundreds of wagons with various property. However, the detachment also suffered heavy losses - more than 400 Russian soldiers died. Soon, the Cossacks dedicated their song to this raid, quite possibly, however, being a skillfully executed modern craft of the “new Cossacks” to improve their image and raise their “historical role”:
“Across the Liaohe river, fires lit up,
Cannons roared menacingly in the night,
Hundreds of brave eagles
From the Cossack regiments
galloped on Yingkou for a raid.”
As you understand, the motive of the song was already known to us - this gives us the right to assume that the music was really folk, and Alexandrov only slightly processed it with a “file”. Confirming the theory of prisoner songs, there are several folk texts. For example, the already mentioned song “Only in Siberia will dawn dawn” by an unknown author (5) :
As soon as dawn breaks in Siberia,
The people wake up in the villages.
On the stage yard, the ringing of shackles is heard -
This party is going on the road.
Prisoners considers the sergeant -major grey
-haired, Military-style builds in platoons.
And on the other side the peasants gathered
And knapsacks were loaded onto carts.
Here was a signal: - Convicts, forward! And they set off down the
road.
Only shackles ring, dust rises,
Let tired legs drag.
And the Siberian autumn does not like to joke,
And it freezes the poor fellow everywhere.
Only a powerful silushka, well done, makes us
alive through the stage.
There was a signal, it means - a halt,
Half of the way has already been passed.
And on this way the people disappear:
This is instituted by our king.
Well done convicts gathered in a circle
And burst out a daring song,
Two exiled guys, picking up their shackles,
Started into a dashing dance.
Or such an option "When dawn breaks in Siberia" , known since the second half of the 19th century:
When the dawn breaks in Siberia
And the fog spreads over the taiga,
The ringing of shackles is heard in the transit yard -
This is the party going on its way.
The convict considers all the sergeant-major gray
-haired, Puts them in platoons in a military way.
And on the other side, the peasants gathered
And knapsacks were loaded onto carts.
It sounded: "March forward!" - and again
the convicts trudged until the evening dawn.
They will not see joyful days ahead,
Shackles moan sadly in the fog.
It is very likely that the gypsy romance "Andalusian" was performed to the same motive based on a poem by Vsevolod Krestovsky , which he wrote in 1862 (6) :
The Andalusian night is hot, hot,
In this heat and passion, and impotence,
So that even falls from a steep shoulder
From the beating of the chest mantilla!
And I tear off the veil from my head,
And I tear off the tiresome dresses,
And with insane longing into the fragrant distance,
All on fire, I extend my arms...
Naked Persians tremble, burn, -
Choo !
It is he, my hidalgo, my knight, my friend!
It's him - I can smell his steps!
He will come - and under the cloak I will suddenly rush to him,
And there will be no end to kiss!
I love to tremble under his kiss
And, like a bird, beat in his arms,
And fall under his chest, and freeze with him,
And merge in one pleasure.
I'm not afraid of anyone with him all night long -
He alone can cope with at least twelve:
If someone noticed a little or covered him - A
knife would stick right in his side!
I don't feel his kisses, his hugs in the heat
of passion, I just
look at how two rays sparkle in my eyes,
And I am silently submissive to their power!
But until night, all day, I am sad and sick,
And in languor I still wait and yearn,
And in the place where he was with me, by the window, I
even furtively kiss the earth ...
And until night, all day, I'm sad and sick
And I wander around the garden unwelcomingly -
Because I have no one to tell this dream Selflessly to my
soul:
I have no girlfriends, I have no sisters, The
old husband only counts money,
And he is jealous of me, and he scolds me - He
doesn’t even let me go to church alone!
But sometimes I will snatch away, I will deceive somehow
And I will go to the Franciscan monk,
And, leaning towards the grate, everything that my chest feels,
With pleasure I will open, without fear!
I'll tell him how that night was
Hot, how the moon lit up,
How I crept away from my husband from the bedroom,
How I gave myself to my lover.
And then I love to watch through the bars,
How the old man's eyes light up,
And he begins to pray to love him,
To love - and all sins will be forgiven ...
I will laugh secretly and, opening my whole soul, I
will leave the monk relieved,
So that with a new night and a new impulse
To burst ardently from the breast of a lover.
Song "Across the Liaohe River" (~ 1905) by an unknown author (7) :
Across the Liaohe River, fires lit up,
Cannons roared menacingly in the night,
Hundreds of brave eagles
From the Cossack regiments
On Yingkou galloped in a raid.
The Cossacks made their way there day and night,
Overcame both the mountains and the steppes.
Suddenly, in the distance, by the river,
Bayonets flashed,
These were Japanese chains.
And without fear, the detachment rode against the enemy,
To a bloody terrible battle, And the constable suddenly dropped Piku
from the hands - The daring heart was broken.
He fell under the hooves in a dashing attack, Filling the
snow with hot blood,
You, black horse,
Tell, dear,
Let the Cossack not wait in vain.
Across the Liaohe River, the lights were dying out.
There, Yingkou burned out in the night, A detachment returned
from the raid
Only there were few Cossacks in it ...
The poem "The Death of a Komsomol Member" by Nikolai Kool (1924) (8) :
There, in the distance, across the river,
Lights flashed,
In the clear sky, the dawn was dying down, - A
hundred young soldiers
From the Budyonnovsk troops
To reconnaissance in the fields galloped.
They rode for a long time in the silence of the night Across the
wide Ukrainian steppe,
Suddenly
bayonets flashed in the distance by the river:
These are the White Guard chains.
And without fear, the detachment
Ride on the enemy,
A bloody battle ensued,
And the young fighter
Suddenly drooped his head, The
Komsomol heart was pierced.
He fell at the feet of the black
horse,
And closed his brown eyes:
"You, black horse,
Tell the road,
That I honestly died for the workers."
There, in the distance, beyond the river , the
lights had already gone out,
in the clear sky the dawn was lit up.
Drops of thick blood
From the breast of a young
woman Run down to the green grass.
And here is the song “I’m thrown, I’m abandoned in the Northern Territory” , recorded by M. A. Lobanov in 1992 in Leningrad from Efrosinya Alexandrovna, nee Dunaeva, who heard it in her native village from the dispossessed from the Saratov province in the 30s ( 9) :
Thrown, abandoned, I'm in the Northern Territory,
Deprived of precious freedom.
And now all my youth is flowing,
The best years will pass.
Comrades-friends dispossessed me,
What have you turned me into?
My wealth all went to nothing,
I was led to the north.
And then I live in the north,
No one goes on a date,
I sit in captivity and look at freedom,
And my heart so longs for freedom.
Once a crowd of curious people
Watched with some kind of supervision,
As if for them I was a robber,
A robber, a tiger and a thief.
Comrade friends, don't laugh at me,
Perhaps it will happen to you too:
Today you're a hero, and tomorrow with your family,
Perhaps you'll have to say goodbye.
And then it started ...
It is unlikely that the following text is genuine, but even as a remake it had to appear (10) :
There, far beyond the river,
Lights flashed,
In the clear sky, the dawn burned out.
A hundred young soldiers
From Denikin's troops
galloped into the fields to reconnoiter.
They rode for a long time
In the silence of the night Across
the wide Ukrainian steppe.
Suddenly
bayonets flashed in the distance by the river:
These are Red Army chains.
And without fear, the detachment
Ride on the enemy,
A bloody battle ensued.
And the young Cossack
Suddenly drooped his head -
This Russian heart was pierced.
He fell at the feet of the black
horse
The Cossack's eyes closed from impotence -
You, black horse,
Tell, dear,
That I honestly died for Russia ...
There, far beyond the river,
The lights had already gone out,
In the clear sky the dawn was flaring up.
A hundred young soldiers Returned to the
camp of Denikin's troops From reconnaissance.
And then this (11) :
Fires were lit over the Sinai River
A
hundred young soldiers
galloped to reconnaissance in Cairo
They rode in silence in the silence of the night Across the
wide Israeli steppe
Suddenly, in the distance, by the river
Bayonets flashed -
These were Arab chains
And for free the detachment
Ride on the enemy
A bloody fight ensued
And the young Hades
Suddenly drooped his head -
Rabinovich was wounded in ... (back)
He fell between the legs of a black horse
. The horse covered his brown eyes.
“You are a black horse ... take it out, dear ...
After all, I died, but I finished - not very well.”
For connoisseurs of Chinese characters for warm-up (13) :
1, 远 在 小河 的 对岸 有点 点 火花,
天空 褪去 了 最后 的 晚霞,
一连 青年 骑兵, 一齐 跳跳 战马,
跃过 田野 到 前面 去 侦察.
2, 他们 在 静静 的 黑夜 里 纵马 向前,
长久 奔驰 在 辽阔 的 草原,
突然 远远 河 边 边 刺刀 芒 一 一 闪,
原来 这里 白军 的 防线.
3, 队伍 扑 向 那 敌 敌 敌 锐势 锐势 当 当 当
和 那 白匪军血战 了 一 一 场 一 一
青年 战士 突然 突然 受 了 重伤
重伤 共青团员 地 地 地地.
4, 倒在 地地, 他 慢慢 地 合 合 眼睛,
他 向 自己 的 铁青马叮咛:
"马马 呀, 我 的 战友, 转告 我 的 亲人,
我 为 工人 阶级 而 牺牲."
5, 小河 对岸 的 火花 已 不 再 再 闪耀,
黑夜 过去 了, 天边 已 破晓.
年轻人 的 胸口, 流出 许多 鲜血,
鲜血染红 了 青青 的 野草.
Vietnamese translation of the song "There, beyond the river" by Silver John:
Đằng bờ sông xa đang thấp thoáng bao ánh lửa bập bùng.
Phía chân mây xa, đang tắt đi rồi ráng chiều.
Có bao nhiêu người chiến sĩ,
Phóng trên lưng ngựa vút đi tuần tra khắp nơi
Dọc ven sông, khắp cánh đồng.
Và họ ra đi, đi rất lâu trong bóng đêm im lặng.
Khắp trên thảo nguyên, đây đất U-krai-in-na
Bỗng phía xa bờ sông ấy,
Có toán quân bạch vệ binh, cùng bao lưỡi lê
đầy hung hđt.
Đoàn ngựa phi lên giữa đám đông, không phút giây run sợ
Với quân gian kia, trận chiến sinh tử bắt đầu.
Bỗng có một chàng chiến sĩ,
Ngã gục đầu vì bị đâm
Và ôi trái tim đầy thanh xuân đã nát rồi.
Và chàng thanh niên trong chiến đấu đã ngã bên chân ngựa.
Khép đôi mắt nâu, anh khẽ nói thầm với ngựa:
“Hãy nghe tôi, ngựa đen hỡi;
Nói giúp tôi người tôi yêu
Rằng tôi chết đi đầy vinh quang vì mọi người.
Đằng bờ sông xa im ắng lắm, đã tắt bao ánh lửa
Phía chân mây xa đang sáng lên bình minh rồi.
Biết bao nhiêu dòng máu nóng
Rơi xuống từ ngực trẻ trung
Để cho mãi xanh ngàn lá cây ở chốn này.
Also a Hebrew translation:
. _
לוֹחֲמִים כְּמֵאָה, שֶׁבּוּדִיוֹנִי גִּיֵּס
דָּהֲרוּ כְּדֵי לָתוּר אֶת הָאָרֶץ.
בְּרַחְבֵי עֲרָבָה אוּקְרָאִינִית רָכְבוּ
בַּדְּמָמָה הַלֵּילִית הַנִּמְשֶׁכֶת,
וּפִתְאוֹֹ מִלְּפָנִים נָצְצוּ כִּידוֹנִים -
הַצָּבָא הַלָּבָן בָּא בְּשֶׁקֶט.
בְּלִי מוֹרָא הַפְּלֻגָּה עָטָה עַל הָאוֹיֵב,
קְרַב דָּמִים עַל יָמִין וְעַל שְׂמֹאל הוּא,
וְלוֹחֵֹחֵ צְעִיר הַגִּיל מַבָּטוֹ אָז הִשְׁפִּיל,
כִּי פֻּלַּח לִבּוֹ הַקּוֹמְסוֹמוֹלִי.
הוּא צָנַח לְרַגְלָיו שֶׁל סוּסוֹ הַכָּסוּף
אֶת עֵינָיו הוּא עָצַעָצַ, וְאֵינֶנּוּ:
"סוּסוֹנִי כְּסוּף הָעוֹר, יַקִּירִי, אָנָּא מְסֹר,
שֶׁנָּפַלְתִּי בְּעַד פּוֹעֲלֵינוּ".
. _
לוֹחֲמִים
כְּמֵאָה
Ukrainian nationalists did not stand aside either. Foaming at the mouth, they prove that the impudent "Russians steal music " (12) . As proof of their words, they cite the song "Saying goodbye to the archer" , which "Muscovites sang to the motive" There in the distance, beyond the river "" (13) :
Saying goodbye to the archer of his day,
Virushav wins on a long journey.
For your native land, for the archer, call
Me for your victory.
And the wind blows more shovkov's grass,
The young oak tree has shriveled to the full,
The leaves rustle... The beaten archer lies down,
Above him the horseman squinted.
“Oh, horse, my horse, don’t stand over me,
I’ll lie down at once.
Fly, my horse, tell the Nenets native, that
I am lying near the steppe of slaughter.
Nay batko, and mothers, and dear sisters,
Don't let the stench cry for me.
I lie in the steppe, for my day I grieve, The black circle
above me is already crooked.
A lot of Cossacks lay down for Ukraine, and
none of them will rise again.
And Ukraine is bula, and Ukraine is alive,
I have already risen for its will.
Well, you think that the harmonic pattern (Am-E-Am-G-G7-CFGC-Am-E-Am) is basically different - who cares about these little things? Stolen - and that's it!
"Farewell to the Strilet" - the Galician version of the Ukrainian song among the Don Cossacks (14) :
Saying goodbye to the archer from his native land, and having gone on a long journey -
For your native land, for the Cossacks, ring out, Yshov
for his victory.
And the wind is thicker than the tall grass,
The young oak tree has shriveled to the full,
The leaves rustle, the beaten archer lies down,
Yogo horseman scowled at him.
Oh, my horse, my horse, do not stand over me,
I will lie down on the ground neukritiya.
You bіzhi, my horse, tell the Nenets native, that
I am for Ukraine of murders.
Let your father and mother, sisters, and brothers -
Don't let the stench cry for me.
I’m lying by the steppe, I’m sad in Ukraine, The black circle
above me is getting harder.
Row after row, the archers go in regiments,
Before the campaign, they will play harmatically.
And for me, honor is only a birch cross,
Dribni tears fall to the ground.
Having said goodbye to the archer from his own family, And having gone on a long journey -
For your native land, for the Cossacks, ring out, Yshov
for his victory.
And in 1989, Anatoliy Sukhiy (15) creatively reworked the song "According to the Chornіlіy Rіllі" about units of the Ukrainian Sich Riflemen like the Ukrainian Insurgent Army (15) :
We follow our brothers along the black rilli behind the rows
, -
Through the mountains and the foxes, we follow the
crooked lines with our important legs.
Through the mountains and foxes - so mandruemo mi,
And above us to rush the crooks with keys,
Mov tі kruki with the keys we go farther away,
Mov those orphans we go through the fields.
Gayvoronnya is better for us de-no-de,
- Why are you wandering in foreign lands?
- To lower the coffins, de-sleep our brothers,
Who lay there over the edge with their heads.
Passing by Murzilka International jotted down their text:
There, in the distance, no one knows how to
manage The economy is junk, a bitch, A
hundred young fighters, managers, businessmen
They took the reserve from the presidential.
A hundred young fighters-managers-businessmen
From the presidential took the reserve.
They rode for a long time in the stillness of the night
Through foreign towns and villages,
To slap local fighters on the faces
And take control of the field.
To slander the local fighters on the faces
And take control of the field.
Boiled work in problem areas,
Bloody fight with ghouls,
Bureaucrat was beaten, know how to quarrel, bastard
With the presidential reserve, dog.
A bureaucrat was beaten, know how to quarrel, bastard
With the presidential reserve, dog.
And wearily, a fighter, uncovered his iPad, Wiped the
sweat with a hard-working palm.
President, dear ... Everything is in order, dear -
He wrote, of course, on Twitter.
President, dear ... Everything is in order, dear -
He wrote, of course, on Twitter.
Therefore, I consider the main part of the study completed, arguing that the music was folk-compassionate, the lyrics to which were composed by everyone and sundry - like any folk song, it does not have a specific original author, but is only a reflection of historical and geographical events, the participants of which are writers. It's just that the song " There, Across the River " is trivially lucky to become the most popular version and, as a result, a victim of truth-diggers like me.
The sheet music of the song is available here :
Of the famous video performances, only the cartoon "Songs of Fiery Years" deserves attention :
http://a-pesni.org/grvojna/oficial/a-orlenok.php///Leonid Kaganov///ORLYONOK///Diary of Leonid Kaganov, entries of July 5, 2007, March 24, 2009, July 31, 2010.///////……Now we will be able to completely restore the chain of events. In 1936, the playwright M. Daniel finished the play "Zyamka Kopacz" in Yiddish (he spoke excellent Russian, but wrote mainly in Yiddish for shtetl theaters). According to the plot, the hero-boy composes the song "Orlyonok", in which he addresses the bird, asking it to fly to Lenin and pass on the oath of allegiance to the revolutionary cause from a distant province. This is a key moment for the plot: after all, the boy himself dreams of going to Lenin for this purpose after he commits his feat and saves the red commander Kudryavtsev (They threatened to shoot him, not the orphan boy). The play was a success in local theaters, in the same year Chernyak translated it into Russian, and the Mosskovet Theater staged the play "Cotton". Only the first verse falls into the production, namely "Orlyonok, eaglet, mighty bird..." (O. Ochakovskaya" "Stories about songs", Moscow, Music, 1985; information was sent by Petr Zakharov). About this verse, we know that this is Chernyak's translation. Then the poet Yakov Shvedov rewrites the song. It is believed that the composer Viktor Bely asked him about this, seeing how the audience dispersed after the performance, singing that single verse. Shvedov retained the main meaning of the song, only in its version the appeal to Lenin disappeared (a key moment for the performance), but "steppes" appeared (unthinkable for the town of Molodechno) and a terrible "shooting" sounded. Such a break from the plot clearly went to the benefit of the song: it immediately became popular, the word "eaglet" became a household word, acquired myths and eventually led to the appearance of the eponymous bicycle, radio, hotel, pioneer camp, monuments to the young hero in different parts of the country, and everything else that we, descendants, found.///It remains to deal with the little things. First, can we assume that the song "Orlyonok" was composed by Daniel, and not taken from some even earlier source? The fact is that there were other songs in his play. And about at least one of them ("I have a son...", p. 46) we now know for sure (thanks to the search for riftsh) that this is a popular Jewish song "Mein Ingele" ("My Boy") to the poems of Morris Rosenfeld, written in 1887 - long before the birth of Daniel. The song is American: trouser ironer Morris Rosenfeld (yes, the author is a woman) wrote it, telling how hard it is for a mother not to see her young son forever because of hard labor. Apparently, the song seemed so suitable to Daniel that he put it in the mouth of the hero - the old shoemaker Samuel. Authorship in those years was treated very freely, and the song is old, well-known, why indicate the author? So maybe the song "Orlyonok" is also borrowed? I think the correct answer is no. First, it is too closely related to the plot of the play. Secondly, Daniel himself (as his son recalls) claimed that he composed it for the play himself.///Finally, our original question remained unclear: where did the word eaglet come from – not a falcon, not a pigeon, not a petrel? We seem to have found the answer in an interview with Shvedov, who referred to Pushkin's "Prisoner". But now, when it turned out that the eaglet was not invented by Shvedov, all sorts of versions about the infante Napoleon and local folklore loom before us again, which could tell the author this obraz. But at the same time, the hypothesis of a connection with Pushkin's "Prisoner" remains the most weighty and, frankly, the most beautiful.///So let's assume that the eaglet flying from prison to the bright distance was invented by Pushkin. Daniel in this image rejuvenated both heroes - both the prisoner and, accordingly, the eagle. Composer Viktor Bely wrote music, thanks to which the song flew into people's souls. Chernyak translated from Yiddish into Russian. Shvedov - rewrote and made the text beautiful. And inspired compatriots fought and died with this song on their lips, and called the name of the eaglet bicycles, mountain peaks, steamships and the best pioneer camps in the country.///July 31, 2010.
http://det.lib.ru/a/aleksandr_b/pesni.shtml///Cooper Alexander///Stolen Rhymes. "Orlyonok" and others. to the question of the origin of the famous Komsomol songs about the civil war///Lib.ru/ Special: [Registration] [Find] [Ratings] [Discussions] [What's New] [Reviews] [Help]///Comments: 9, last from 20/09/2022.///© Copyright Bondar Alexander (abondar2002@yahoo.ca)///Updated: 13/08/2011. 40k. Statistics.///Essay: Journalism Articles///I don't like the current word "cult", but it comes to mind when you remember "Orlyonka" and "There's a Long Way Across the River". For several generations of Soviet people, these were not just songs. Their content carried a sacred, almost religious meaning. From the heroes of the songs learned life - in the greatest and most correct sense of the concept. Until the mid-eighties, when the heroic Komsomol members were replaced by "Lieutenant Galitsyn" and "Gentlemen Officers". However, today, against the background of nostalgia for the Soviet past, nostalgia that has engulfed the widest strata of the post-Soviet population, the heroic Komsomol lyrics come to life again. But then it became clear that many of the songs that we used to consider originally revolutionary and Bolshevik are not of worker-peasant origin. Not Bolshevik for sure.///"Glory will not cease these days".../// This was the name of the section devoted to stories and novels about the civil war - a section in a book published for some next revolutionary date. As a boy, I read this book almost to the bone. And relatively recently I learned that the song about the Amur partisans was "borrowed" from their enemies - the White Guards. Moreover, the lyrics of the song are teeming with historical inaccuracies. "These days will not cease glory will never fade. Partisan detachments occupied cities." We are talking about the military operations of 1922, when the partisans of Primorye, in alliance with the regular units of the Red Army, acted against the Whites. But here's the bad luck: the partisans did not take a single city during that war. So what's the big deal? And the fact that the song of the Amur partisans is nothing more than a remade "March of the Drozovtsy". "These days will not cease glory, will never fade. Officers' outposts occupied cities" - so it was sung in the original. Which, in general, corresponded to the historical truth. Moreover, the very melody of the "March of the Drozdovtsy" is borrowed in turn from the song "March of the Siberian Regiments" - a song of 1916. "From behind the mountains, the dense forests, from the bregs of the Amur River, the Siberian arrows went to a formidable cloud of might." (There is also a reworking of this song, dating back to 1941 and there is a Vlasov version, but according to the text it is rather a remake of the "March of the Drozdovtsy" - "By a frequent forest, a field clean they are led by one order: that Stalin's Chekists should not host us.")///A lot of Civil War songs with altered lyrics were sung in one camp or another.///"We will boldly go into battle for the power of the Soviets. And as one we will die in the struggle for this," the Bolsheviks sang. "We will boldly go into battle for Holy Russia," the White Guards answered them. But even in the white camp, there were two options for continuation. More romantic: "And as one we will shed young blood." Tougher and at the same time less "politically correct": "... And we will beat all the Jews - such a bastard!"///The song "Russian Field" turned out to be the song of the partisans-shkurovtsy. Instead of "Heroes are driving across the field. Oh yes to the Red Army heroes" in the original sounded: "Partisans are driving through the field. To fight the Red Bandits." (However, some researchers question the origin of the "White Guard" text - so I will not insist on its authenticity.)///The thing is that the concept of copyright in those days did not exist, and therefore any song that sounded was perceived as something in common, in fact a draw. Especially if it's a song of "class enemies." What kind of copyright is there? By the way, the Vlasovites did the same thing later. In my audio library there is a song "We walk in wide fields at the sunrise of the morning rays. We are going to battle with the Bolsheviks, for the freedom of our Motherland" (to the tune "My native country is wide"). There is a song to the tune of "Three Tankmen": "I was not the only one who took the rifle in my hands. Many volunteer regiments. Everyone went to save the country from anguish. From the yoke of the Jews-Bolsheviks." (To the same tune there is also a song "Two Scouts", where Cossack heroes pursue a "gang" in the swamp - that is, a partisan.) And there is a melody "Painted Stenki Razin Chelny float out": "Under the free banners of volunteer regiments from Terek, Kuban, Don there were detachments of Cossacks." And so on.///"There's a long way across the river..."///The Komsomol song "There in the Distance Beyond the River" was first performed in 1928. The authors of it were declared a young novice poet Nikolai Kool and no longer such a young composer - Professor of the Moscow Conservatory, Regent of the Cathedral of Christ the Savior (in the past) Alexander Alexandrov (the same - the future author of the music of our anthem - Soviet, and then Russian). The story of the Komsomol member who died in battle somehow immediately came to the court, the song was picked up - and even many for a long time considered it popular. Only in 1950, the Copyright Office issued N. Kool a "copyright certificate". If you carefully consider the text, a number of oddities attract attention. Firstly. Why do the budyonnovtsy in the song go on reconnaissance in the amount of not a little - a hundred people? What kind of intelligence is this? Secondly. Old and experienced, and certainly not "young fighters" were sent to the reconnaissance. And whites - why on earth in their own rear they moved not in marching columns, but in attacking chains? And finally, where did the Komsomol members in the Budyonnov army come from? As the white émigré writer Roman Gul testifies: "The 1st Cavalry Army, above all, was deeply national and anti-communist. The steppe cavalry of the Rubak-Budyonovtsy spoke of the Communists only with complete contempt: "Kamunists? Kamunists are bastards! We are not Kamunists, we are Bolsheviks in the board." And budyonovtsy drove communist commissars from the 1st Cavalry Commissars." Even such a detail: does a horseman, shot down by a bullet at full gallop, "droop his head" to then "lie at the feet of a black horse" ?.. This is only possible in close combat, not the time of attack. And there were not hundreds in the Budyonnov army - hundreds were with the Cossacks, with whom the Budyonnovtsy fought. Or finally, just a mismatch: "A hundred young fighters", and after that "the squad galloped at the enemy". So, after all, a squad or a hundred?.. (Or maybe the squad jumped to fight, and the rest of the hundred hurriedly retreated to report to comrade Budyonny about the sighted White Guards?..) Of course, all this can be explained by the fact that this is a song, not a novel or a novel. The folk song has always sounded like a kind of collective stream of consciousness, and "There Far Beyond the River," if not a genuine folk song, at least tried to pretend to it. (Imagine how ridiculous everything could sound if the author - or rather the authors - tried to give the text maximum realism and historical accuracy: "Three old fighters from the Budyonnov troops ...", "A gray-haired konarmeets suddenly shook his head ...") No, the canonical version still sounds better, more poetic./// Blasphemer from Belgorod///If you look more closely at the biography of Nikolai Kool, then there is little poetry in it. He was born on the fourth of December 1903 in Borovichsky Uyezd of Novgorod Governorate. In 1919, sixteen-year-old Kool left his parents' house, renouncing his "father-fist" and ended up in Belgorod, where he soon became a fighter of the ChON. And then - active participation in requisitions, executions and reprisals against various kinds of "counter-revolutionaries" and generally dissatisfied with the "workers' and peasants' dictatorship". In this work, Nikolai Kool was very successful and soon became a member of the Komsomol Ukom, and also headed the district political enlightenment. Here his literary activity already begins. Basically, these are self-made "ditties". Here's a sample: "If yours, Mother Of God, Red Theotokos Every Night ... trample What is she?" He also writes articles - so to speak, on the evil of the revolutionary day. Here are the headlines of N. Kool's articles of those years: "We will kill all the bandits or strangle them with poisonous gases!", "We will fulfill the task of the Central Committee of the RCP (b) ahead of schedule!", "The last word is for the Cheka!" Kool managed to draw the attention of the "senior comrades" when he wrote the script of the so-called "Komsomol Easter" - on the night, on Orthodox Easter, when the churches are full of believers, N. Kool came up with the idea of organizing a crowd of drunken, disheveled Komsomol members, who, having made an effigy of "God", mock him for a long time, rolling an effigy on a cart, and then burn, singing: "Down with monks, rabbis, priests! We will climb into heaven and disperse all the gods!" (Later, these lines would become something like the anthem of the Union of Militant Atheists.) "Easter in Komsomol style" was liked at the top, and they decided to promote the promising young man. In 1920, N. Kool was enrolled in the district Belgorod Soviet Party School of the first stage, where he studied for one year: an uprising broke out in the Tambov region in 1921, and Kool was sent there to crush the "contra".///The Birth of the Song///According to the official version, the song "There far beyond the river" appeared in 1924, when the young, but already experienced "ditty" began to cut through the poetic gift. Nikolai Kool himself recalled later that when composing his poem about a Komsomol member dying from an enemy bullet, for some reason he always remembered the old convict song "Only in Siberia will dawn do", which gave him a kind of "rhythmic pattern". It is also interesting that in the future (and Kool died only in 1974), the author of the Red Army "hit" kept modest and never particularly highlighted his merits to the Soviet song genre, never strongly insisted on his authorship - at least until 1950. And the song was incredibly popular. No wonder, many considered it a product of folk art. Only variations and parodies were created in a few decades an innumerable number. During the years of Stalin's terror, the Zak version appeared: "... hundreds of old fighters from the Budyonnov troops are still rotting in the camps." In Israel, Russian-speaking immigrants came up with their own version: "And for free, the squad galloped at the enemy..." Among the "informals" emerging for the future Gorbachev perestroika, a parody appeared, understandable to them: "And the blue fighter suddenly shook his head - the drug heart is broken..." And finally, the last probably parody of the famous song (who today, in fact, would think to parody the Komsomol lyrics?) and at the same time, in my opinion, the most witty of all the previous ones, was the song of Professor Lebedinsky "There in the distance by the metro". The mockingly lyrical tune about the wayward brother, who was killed during a senseless but bloody showdown, became a kind of philosophical result of the path taken by the country for seventy difficult years - from the fake Komsomol romance of the twenties to the even more fake - criminal romance of the "dashing" nineties.///"Beyond the Liaohe River... "///The true story of the mysterious song began to become clear only relatively recently. It turned out that to the melody of the convict chant "Only in Siberia will dawn do" there were several more songs. So, soon after the end of the Russian-Japanese war, the folk song "Beyond the Liaohe River" appeared./// The song was based not on mythical, but on completely real events. On New Year's Eve 1905, the Cossack units of the commander of the separate Trans-Baikal Cossack Brigade, Major-General Pavel Mishchenko, reached the thoroughly fortified positions of the Chinese city of Yingkou, then occupied by the Japanese. This is a port city, it is located at the confluence of the Liaohe River into the sea bay. The Cossack cavalrymen were opposed by Japanese infantrymen, who were already waiting for them in the trenches: that is, a sudden blow to the city did not work. In order not to get lost at night during the evacuation of the wounded, the command of the Cossack detachment ordered to light fires - as landmarks near the surrounding villages. After a desperate shelling, the lights also lit up in Yingkou itself - there fires broke out from exploding Russian shells. But it was these very lights that played their fateful role in the bloody New Year's Eve. Not knowing how to follow a foreign terrain, confused among the fires and fires in Yingkou, the Cossack detachments lost their way, not knowing what lights they needed to go to. Japanese infantrymen, sitting behind stone fortifications, shot the attackers from a distance of one hundred steps with aimed fire. Cossacks - especially those who were in the front rows, fell into pit traps, rushed between barbed wire, their rifles and swords were powerless against artillery buckshot, rifle shots and machine gun bursts. Three times they tried to storm the fortress, three times the Japanese repulsed their onslaught with accurate fire. A severe frost finished off the wounded, whom the Cossacks could not pick up immediately, during the battle. Yingkou failed to take, however, and the Japanese offensive, which was planned for early 1905, also did not take place. This terrible night of January 1905 was captured in a folk song.///Beyond the Liaohe River, the lights came on, Menacingly the cannons rumbled in the night, Hundreds of Brave Eagles From Cossack regiments On Yingkou in the raid jumped. Cossacks made their way there day and night, Both the mountains and the steppes prevailed. Suddenly, in the distance, by the river, Bayonets sparkled, These were Japanese chains. And without fear, the squad galloped at the enemy, To a bloody terrible battle, And the Man out of hand Piku dropped suddenly - His heart is broken. He fell under his hooves in a dashing attack, Blood pouring hot snow, You, the horse of the crow, Pass it on, darling, Let not the Cossack wait in vain. Beyond the Liaohe River, the lights were extinguished. There Yingkou burned in the night, From the Raid Back The squad returned. Only in it there were few Cossacks...A hundred young fighters from Denikin's troops...///During the civil war, when there were not enough combat songs, and they were needed urgently, the so-called "remakes" of old songs were used, and everyone was engaged in song "remakering" - both red and white. On the motif "Beyond the Liaohe River... " two songs appeared at once: one sounded in the red camp, the other in white. " The red song has not reached us, but it can be assumed that its text was not much different from the text under which Nikolai Kool would later sign. The White Guard sounded like this, or something like this: There, far beyond the river, The lights came on, A clear dawn burned in the sky. Hundreds of young fighters From Denikin's troops I galloped into the fields for reconnaissance. They were walking at a pace. In the silence of the night On the wide Ukrainian steppe. Suddenly, in the distance by the river Bayonets sparkled: These are Red Guard chains. And without fear, the squad Galloped at the enemy, A bloody battle ensued. And the young fighter Suddenly, my head shook - The noble heart is broken. He fell near his feet. Black Horse The sky, weeping, was preparing for the tribulation. You, the horse of the crow, Pass it on, darling, That I honestly died for the Fatherland. There, far beyond the river, Oh the lights went out, A clear dawn was shining in the sky. Hundreds of young fighters In the camp of Denikin troops I was coming back from reconnaissance. Soar above the sun...///What song from our Pioneer-Komsomol Soviet past could be compared in popularity with "There Far Beyond the River"? I think it's "Orlyonok." The boy, captured by the "Whites" and waiting to be shot, became not just another Soviet hero. Orlyonok is a Soviet brand. What was not called by this word: two pioneer camps - one in the Krasnodar Territory, the second in Belarus, and a children's television studio at the central television of the USSR, and a bicycle, and even one of the now forgotten electronic computers.///But is this Orlyonok? Where did it even come from?///The official Soviet version says that for the first time the melody of the song sounded from the stage of the play "Zyamka Kopacz" or "Khlopchik", staged by the Jewish shtetl theater in 1936, in Yiddish. The play was written by Mark Daniel (Meerovich) - a Jewish playwright, the father of the future dissident Julius Daniel, who died in 1940 from tuberculosis. Here it must be said that all the considerable, in general, literary heritage of Mark Daniel today is forgotten tightly, despite the fact that in terms of fiction his books are much brighter and more interesting than the texts of contemporary Jewish writers, abundantly showered with literary prizes - which, however, does not so much indicate the quality of writers as the quality of prizes. About Mark Daniel today you can only read a few dry, indifferent lines in Jewish encyclopedias - they say, he was born, lived, wrote something there and died then, period. Only the above-mentioned "Cotton" remained - it can be read in network libraries - and then only thanks to the song "Orlyonok".///The play about the Jewish cotton picker was shown in the Jewish theaters of Kharkov, Dnepropetrovsk, Chisinau, Birobidzhan. It was difficult to surprise the viewer with the revolutionary theme in those years, and the plot of the play looked quite stenciled: underground Bolsheviks (and among them the main character of the play) are fighting against the legionnaires-pilsudchiks who captured Western Belarus. The enemies capture the Red commander Kudryavtsev - he is threatened with execution. Cotton Zyamka, who also went to prison, wants to save the commander. He escapes into the wild, he manages to contact the underground, and they, having learned that the Poles plan to shoot commander Kudryavtsev, release him. Happy endings, however, are not felt. The finale of the play is quite meaningful - the author seems to indicate that the main struggle is still ahead, and it is not known whether the cotton-picker Zyamka will live to the general workers' and peasants' happiness. In the course of the performance, the cotton sings a sad and at the same time cheerful song about the eaglet bird. This song was especially liked by the audience. There were only four verses. Three at the beginning, and then at the very end of the play, is another one. Here's the text.///Orlyonok, orlyonok - a mighty bird, Fly you to my distant land, There's an old lady for her son languishing, Hello rodim! Orlyonok, orlyonok - a mighty bird, To the east aspires its flight, Take off over Moscow, over the red capital, Where Lenin lives! Orlyonok, orlyonok, tell him you About our enemies, about prison; Say we're in captivity, but we're not broken. And no one can break us. Fourth verse: Orlyonok, orlyonok, in the Homeland of the Far East Our beloved Lenin lives, To him thou shalt fly and thou shalt tell him, That boldly we look forward./// In the original production in Yiddish, by the way, there were only two verses, including the final one - an additional two appeared when translating the play into Russian and staging it in Moscow. Many spectators, having gone outside after the performance, sang a song.Here I must say that the melody of "Orlyonok" is not unique. In 1935, "Kakhovka" appeared to the music of Isaac Dunaevsky, in 1936 (simultaneously with "Orlyonok") "Partizan Zheleznyak" to the music of Matvey Blanter. The songs are different, and the composers are different, but the melody is the same. We can consider the melody of "Orlyonok" and "Kakhovka" a slightly modified version of the melody of the old soldier's song (1916) "The Poor Man Died" (for those who do not know this work, I refer to the much more famous song "Mommy, Mommy, I'm Sorry, Dear, that the thief daughter was born ... ", performed by Lyubov Uspenskaya - the melody is the same.) Nahum Schafer writes in his book "The Jewish Fate of Isaac Dunayevsky": "... I remember well the times when at festive demonstrations people spontaneously sang "Orlyonok, eaglet, fly above the sun" and invariably confused on "Kakhovka, Kakhovka, native rifle", blithely becoming victims of auditory deception." In general, they decided to translate the play about a cotton worker, and at the same time a song, into Russian and show it in Moscow, at the Mossovet Theater. And not just translate the song, but also finish it. And here Yakov Shvedov appears - a poet, let's say, not great, but an experienced and skillful artisan. Shvedov was born in the village of Penya, Tver Governorate, in 1905. Later, the family moved to Moscow, where the apartments of "classically alien" Muscovites expelled from the capital were vacated for those like them. The boy after the death of his parents was at the factory - respectively, and his first poems are also about factories. Then, like Nikolai Kool, service in chon. Yakov Zakharovich Shvedov lived a fairly long life. He died in 1985. He wrote a lot of poems, he published a lot of poetry collections, but except for "Orlyonok", alas, there is nothing to remember today. One of Shvedov's poetry collections is called "With an Open Heart", the other - "Dictated by Time". Who's going to read this today?But "Orlyonok" had a serious fame. This song was loved by both Gaidar and Ostrovsky. And even Blücher, who will also very soon find himself in a dungeon - by no means White Guard, for some reason believed that the song was written about him.///"Орлёнка" пели бойцы и партизаны в годы войны с гитлеровской Германией. Для поддержания боевого духа, специально для красноармейцев, тиражом в 25000 экземпляров была отпечатана книжечка с текстом песни. Один из первых исполнителей песни, певец Александр Окаёмов попал в плен, перед расстрелом пел "Орлёнка". Всё это было. Много лет мальчишка-"орлёнок" из песни оставался сакральным персонажем. По мотивам песни сняли мультфильм (в 1968 году) и художественный фильм (в 1957 году). Герою песни ставили памятники. "Не каждой песне ставят памятник, а вот песне "Орлёнок" повезло. Комсомольцы-челябинцы воздвигли памятник герою песни в честь мужества юных бойцов Гражданской войны", - сказал композитор Лев Ошанин на открытии памятника "Орлёнку" в Челябинске, в 1958 году. Предметом полурелигиозного культа "Орлёнок" оставался до самой перестройки, когда его в конечном итоге постигла та же участь, что и большинство символов советской эпохи. "Его называли козлёнком в отряде. Враги называли козлом", - так звучала кавээновская пародия горбачёвских времён.///However, Shvedov himself was never particularly fanatical. So says, at least, his granddaughter Yulia Goncharova, a correspondent for the newspaper "Moskovsky Komsomolets". Here is what Y. Goncharova recalls: "My grandfather treated his work with humor, constantly rhyming jokes, jokes, distorting his own poems. He and I were really close, maybe because I'm the youngest granddaughter. Amusing me, he read various quatrains, his attitude to the party was also humorous. As a result, one of the first poems I read in kindergarten was: "Lenin told Trotsky: let's go, Lev, to the bazaar, buy a horse karyuya, feed the proletarians." The desire of the granddaughter is understandable - she is trying to adapt her grandfather to the realities of a completely different time, but the portrait of the poetry songwriter in the end is not particularly attractive: before her eyes there is an image of an inveterate cynic who does not believe in anything at all, a person who is ready to glorify any power, quietly laughing at the same power. Together with the composer Viktor Bely, Shvedov wrote a cycle of songs about Stalin, for which he almost received the Stalin Prize - he did not receive, however, because, according to Y. Goncharova, "he did not know how to bend."/// Eaglet. Etymology of the image///But still, why the eaglet? Why did this particular bird come to the mind of the authors? Why not a falcon, for example? In those days, the "Song of the Falcon" by M. Gorky was very popular...Shvedov himself claimed that creating a song about a boy hero, he was inspired by the image of his old friend - Gerasim Feygin, who died during the suppression of the Kronstadt uprising. But that's the only thing that looks weird. The Kronstadt uprising, brutally suppressed by Tukhachevsky, the mass executions of unfortunate sailors who dared to rebel against the "workers' and peasants' power"... The eaglet boy from the song is a victim, it is strange to paint a portrait of the victim from the image of the executioner.///Юлия Гончарова в упомянутой выше статье пишет, что дед рассказывал неоднократно: одним из прототипов "орлёнка" стал также Анатолий Попов, старший сын писателя Александра Серафимовича - с Серафимовичем Шведова объединяла дружба. Шестнадцатилетний юноша, в октябре 17-го, во время уличных боёв в Москве, переодевшись в гимназиста, проник в Кремль, занятый юнкерами, - отправился туда на разведку. Юнкера опознали его, схватили и хотели было расстрелять, но Попова спасли ворвавшиеся в Кремль красногвардейцы.(10) Похоже на историю песенного орлёнка? По-моему, не очень. Будь Шведов начитаннее, он бы вероятно назвал пьесу Эдмона Ростана "L'Aiglon" ("Орлёнок"), написанную в 1900 году и повествующую о печальной судьбе Наполеона II Бонапарта - сына Наполеона I, так и не взошедшего на престол и умершего в возрасте 21 года. Пьеса была популярна в России до революции, её обожала Марина Цветаева, которую пьеса эта превратила в фанатичную почитательницу обоих Бонапартов ("Отца и Сына", как называла она этих исторических персонажей)(11). Цветаева даже написала стихи: "Теперь мой дух почти спокоен, Его укором не смущай... Прощай, тоской сражённый воин, Орлёнок раненый, прощай!" Однако пьеса на русский язык не переводилась, а Шведов французским не владел. Знал ли он о существовании такой пьесы, читал ли он стихи Цветаевой об Орлёнке, или же нет, но среди источников вдохновения он их, во всяком случае, не назвал. Шведов говорил, что образ орлёнка он будто бы позаимствовал непосредственно из стихотворения А. С. Пушкина "Узник". Звучит не особенно убедительно. У Пушкина образ орла, парящего высоко над землёй - образ свободы, прекрасной и недосягаемой. В песне же доминирует интонация сентиментально-трагическая, замешанная на эстетике жертвенного мученичества - то, чего в стихотворении Пушкина нет и в помине.///It is also embarrassing to mention in the song (twice) the steppes and (once) the village. If the plot is based on the story of Daniel's "cotton", then the action of the song should take place in Western Belarus. However, there are no stanitsas or steppes in Belarus and never have been. This is connected, by the way, with another curious version, which turned out to be widely voiced after the war. Buryat local historians said that the prototype of the hero of the song was, allegedly, a Buryat boy-Komsomol member Zhenya Manzanov, taken prisoner and shot by the White Guards. In Buryatia itself, Manzanov was widely known only in 1966 - when the "winged eaglet", from the Komsomol song, has long and firmly become a myth. In 1966, Joseph Tugutov's book "On the Four Winds" was published. In Buryatia, by the way, there is even the Manzanov Field - named after Yevgeny Manzanov. And then everything coincides. In Buryatia there are also villages and steppes. And the fate of the hero accurately reproduces the fate of the song character. A lot of articles have been written on this topic by Buryat local historians, and the Big Children's Choir, which has repeatedly performed "Orlyonka", issued a new version of the song - instead of "feather-grass steppes on fire" now sounded "Buryat steppes on fire". (By the way, the book by the Ukrainian writer Oksana Ivanenko "Native Children", written in 1951, mentions a certain performance staged in one of the theaters of Kiev, before the war - that is, in the late thirties, where the song "Orlyonok" is performed in Shvedov's version, but instead of "feather-grass steppes on fire", it sounds exactly "Buryat steppes", which may indicate that the "Buryat" version of the song appeared much earlier than 1966.) However, Shvedov did not comment on this version. It is unlikely that he was ever interested in Buryatia, and it is unlikely that he even knew the history of the Buryat "eaglet". By the way, the word "eagles" in Russian ancient songs was called Cossacks. Accordingly, "orlyonok" - "Cossack". That's if you do without metaphorical symbols. Remember, in the song "Beyond the Liaohe River": "hundreds of brave eagles from Cossack regiments" ?.. The word "eaglets", during the civil war, could well be applied simply to the Cossacks - as an affectionate and proud designation: "A long and stubborn battle ensued near Korenovskaya. Listnicki and his regiment went on the attack and counterattack twice. For the third time, the chains of his battalion were raised. Prodded by the shouts of the company: "Do not lie down!", "Eaglets, forward!", "Forward - for the cause of Kornilov!" - he ran along the unmowed wheat with a heavy jog, holding a sapper blade in his left hand above his head, clutching a rifle with his right." (M. A. Sholokhov "Quiet Don".) А почему не предположить, что выданный в 1936 году Яковом Шведовым текст - своего рода "ремейк" другого текста, более раннего? И тогда всё это - и "станицы" со "степями", и герой - "орлёнок" ("казочонок"?) - просто напросто атавизмы, шрамы, оставшиеся как следы от проделанной автором песенного ремейка "хирургической операции"?.. "В полях под Челябой родной"?..10 октября 2004 года, на интернет-сайте "Меч и трость" появилась статья Владимира Черкасова-Георгиевского "Орлы-белоказаки и их орлёнки. Иерей РПЦЗ(В) А. Моисеев выстаивает с песней "Орлёнок" смолинских казаков атамана А.И.Дутова""(14). Автор статьи утверждал, что знаменитый "Орлёнок" - не более, чем переделка старой белоказачьей песни. Песня эта народная, она была популярна среди казаков атамана Смолина, входивших в Дутовское войско. И её до сих пор помнят в тех местах, где смолинские казаки в былые времена сражались с красными. Вот оригинальный текст песни (согласно статье): Орлёнок, орлёнок, взлети выше солнца И в степи с высот погляди. Наверно, навеки покинул я дом свой, В казачьи вступая ряды. Ты помнишь, орлёнок, как вместе летали Над степью в пыли боевой, Как лошади ржали, как шашки сверкали В полях под Челябой родной. Орлёнок, орлёнок, мой верный товарищ, Ты видел, как в грозном бою И справа, и слева снаряды взрывались, Срывая папаху мою. В разведку я послан своим атаманом, Ты помнишь, мой друг боевой, Как темною ночью в сраженье неравном Убит был мой преданный конь. Орлёнок, орлёнок, мой верный товарищ, Ты видел, что я уцелел. Лети на родную станицу, расскажешь, Как сына вели на расстрел! Ты видел, орлёнок, как долго терзали Меня большевицким штыком, Как били прикладом и много пытали В чекистских застенках потом. Орлёнок, орлёнок, взлети выше солнца, Где вражеской подлости нет. Не хочется верить о смерти, поверь мне, В шестнадцать мальчишеских лет. Увидишь, орлёнок, кружась над степями, Кровавое тело моё. Казаки умолкнут, опустят здесь знамя И скажут: Господь, успокой!///Of course, this version is difficult to prove today. As well as refute. One thing is certain: it is not contradictory, unlike the official Soviet version, and does not raise any questions.///As soon as the "White Guard" lyrics of "Orlyonok" appeared on the network, a lot of all sorts of "studies" of the question of the origin of the song immediately jumped out. All are extremely superficial and biased. The logic of the authors boiled down to the fact that the version about the white origin of the song is so stupid and worthless, they say: even discussing it is only wasting time. For example, blogger and journalist Leonid Kaganov, who devoted three large articles published in his LiveJournal to the question of the origin of Orlyonok, writes: "Of course, this is a fake. Unlike the slender canonical text, the "discarded" verses are frankly incompetent in terms of poetic technique, and with their heads betray the work of an amateur. In addition, there is a creative from the cartoon of 1968, made, as it was claimed, only on the motives of the song: it was in the cartoon that the hero was sent by the commander to reconnaissance, it was there that the killed horse was first mentioned. Does anyone seriously want to convince us that the Soviet cartoon was invented based on this White Guard song, and not vice versa?" And why, in fact, could not a Soviet cartoon be created on the basis of a white-Kazakh song, if it was (why not?) known to the authors of the cartoon? As for the "work of an amateur", the philologist Leonid Kaganov should know: folk songs are composed by amateurs - these songs rarely have "slender canonical texts" - here you can recall "From the Odessa Kichman" and numerous versions of "Murka". Finally, it was much easier for such an experienced artisan, but not a particularly talented poet, like Yakov Shvedov, to create a high-quality text based on a folk song than if he started solely from his own experience and poetic inspiration - it is always easier to write a remake than to create a work from scratch, and the fact that the remake usually turns out to be better than the original is also quite natural. (The fact that the Swedish version of "Orlyonok" is more artistic, more poetic than the White-Kazakh original (for example, this is still the original), I personally would not deny.) Let's put it shorter: if the "White Guard" "Orlyonok" is really a fake, then the fake is certainly of high quality, made technically flawlessly. Of course, the versions about the "White Guard" roots of a particular Komsomol song are not accepted by everyone, for many today they sound blasphemous. And since many years have passed, it is difficult to prove anything. Sometimes it turns into an anecdote. So, in 2005, a certain Yuri Maksimov (by the way, an Orthodox priest, and even a deacon) took over the authorship of the "White Guard" version of the song "There in the Distance Across the River". (See para. "Deacon Georgy Maksimov. " How I wrote a civil war song.'") Dear Father Deacon reported that "Many years ago, even in my student years, there was nothing to do" ... "concocted a "White Guard version" of Kool's song "There in the Distance, Beyond the River". And he posted it online. Under his last name, by the way. And then I was surprised to see "my" song in a book about the White Guards, released in 2004 by the capital's publishing house "Eksmo". The story is, of course, funny, but unfortunately it doesn't clarify anything. Firstly, there are several "White Guard" versions of "There in the Distance Beyond the River", and secondly, there are witnesses who heard the "White Guard" "There in the distance ... " back in stalin's very distant times. Finally, the song appeared on the network, after all, before it was posted there by the respected father deacon. The truth is that "ideologically verified" songs are very easy to rework, changing the words to the opposite - and therefore the road for hoaxes here opens up wide to the point of impossibility. And therefore, you can always give other quotes to some quotes, calling the opponent a liar and a fraud. By the way, there is another White Guard song to the tune of "There's a Long Way Across the River." But it is only about a courageous and just general who "put the commissars to a harsh, painful execution." However, the lyrics of this song are unfortunately lost.///In "Orlyonka" they sing "Orlyonka"///On the Internet, in one of the Live Journals, I read: in the All-Russian Children's Center "Orlyonok" (former pioneer camp), which is in the village of Novomikhailovsky of the Tuapse district of the Krasnodar Territory, they sing ... correctly "Orlyonka". But not the Swedish version, but the "white- one". Well, that's probably logical. Time itself puts everything in its place.///Alexander Bondar, Dmitrov.///"Day of Literature", N 7 (179), 2011.
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