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 - First part: In 1825, the poet Fyodor Nikolaevich Glinka wrote the words to the song and in 1828, the composer Alexey Nikolayevich Verstovsky wrote the melody to the song. In 1839, the poet, Nikolay [?] Radostin, wrote other, however, similar words to the song and in 1840, the composer, Pyotr Petrovich Bulakhov, wrote the melody to the song and the poet, Nikolay [?] Radostin, re-wrote the words. In 1840, the poet, Nikolay [?] Radostin, published the collection of troika poems that he collected and included versions of these poems. In 1901, the poet Leonid Nikolaevich Trefolev wrote the version of the words known today, from the words of Glinka and Radostin, to the tune of Bulakhov. Thus, two or three songs contributed the words and one song the melody.
Notes written by Izzy Hod-Second part: The song, The Volga troika, one of the most well-known and beloved songs in Russia and the world, is still orphaned by authors. The researcher of the written texts, the philologist, Boris Dmitrievich Tlishev, estimated that at least the words in the latest version from 1901 were composed by the poet and historian, Leonid Nikolaevich Trefolev. The Russian composer, Yuri Sergeevich Biryukov, researched the genealogy of about a dozen songs about carriage vehicles in Russia, to find the original versions from which the song was derived in the latest version. Additional details about the history of the song's creation emerge from his research. There is the opinion that, with minor changes, the poem in the last version is similar to a passage from the poem of the poet, Fyodor Nikolayevich Glinka, A Dream of a Russian in a foreign Land [written in 1825] and a passage in Glinka's long poem is sometimes called Troika and for this of music was also written, by a number of composers and the best known is Alexei Nikolayevich Verstovsky, who wrote the tune in 1828. Glinka, wrote the song about a troika on the way to Kazan and an unknown poet later changed the song to the frozen Volga and more, several lines from the song in the last version, reminiscent of lines in the poet's poem, Anordist [Nikolay Radostin], who wrote together with the composer, Pyotr Petrovich Bulakhov, the song, Here on the way there is a large village and lines from this lyrics by radostin's are also reminiscent of his another own poem, The bells are ringing and the troika is galloping [written in 1839]. Radostin was the first collector of all the troika poems of the Volga and published his collection for the first time, in 1840, where Glinka's poem was also included. Bulakhov, was a well-known composer, but his house with all his musical documents, burned down and he himself was at the end of his days, paralyzed and supported by his friend, in the Koskovo estate, in the Sheremetev Palace in Moscow. Today a tourist site, where you can see the French garden style, which was common in Moscow and is the last to survive. Some of these poems are engraved on a lithograph of a troika created by the painter Gobrilov, which was published by the collector Sharapov in 1865. It therefore appears that the poem, The Volga troika, is a mosaic of words and sentences, of two or three poems, written about the different sleds in Russia, including the river chariot, drawn by three horses, which give it the name, troika. At least two songs, contribute the words and a third song the melody. The first to write about sleighs and troikas was Pushkin in the poem, Winter road, written in 1826, the melody was written for Pushkin, by Alexander Alexandrovich Alyabyev. Glicka wrote his poem in 1825, meaning before Pushkin. That is why some say that Glinka and Pushkin opened the era of troika songs. The melody to Glinka's poem was written by Alexei Nikolayevich Verstovsky. Later, other composers wrote other tunes to Glinka's words. Glinka's name was omitted as the first of the troika writers because of political reasons. Fyodor Nikolayevich Glinka was a Decambrist, that is, among the revolutionaries who participated in the rebellion that began and failed on 14.12.1825 or in another version on 26.12.1825. It was after the sudden death of the ruler of the Russian Empire Alexander Pavlovich [Alexander I] and during the struggle of his two sons for the monarchy, when the Decambrists supported one of them, Constantine and failed. Many of them were executed and the poet, Glinka, was exiled for a long period from Moscow and in exile, in 1825, wrote the poem, A Russian's dream in a foreign Land. Of the first recordings of the song, one is known from 1909 and the other from 1919. In the lyrics of the last version from 1901, the head of the Tatar village is mentioned. In the thirteenth century, hordes of the Tatar/Mongol tribes attacked and took over the principalities of Russia and its villages and also developed the continuation of the postal service through the troika, which had begun earlier, back in the tenth century AD and after. This is a poem by, Radostin [Anordist] and Bulakhov, Here on the way there is a big village [Completely free translation] Here is a big village on the way... here is my troika driver... and it is struck by jealousy... and it sings slowly... your beauty is destructive... and all I have left is the light of hatred... why was I enchanted by you... And even if I'm not fond of you...my horses are sad because of me...after we parted in two...they won't gallop anymore...along the main road [the king's road]...not for a while will this song be...not for a long time The troika driver will be sad...very soon and in the depths of the earth...the body of the troika driver will be buried. This is a poem by Nikolay Radostin [Anordist] The bells are ringing and the troika is racing [Completely free translation] the bells are ringing and the troika is speeding...behind her is a column of dust...the ringing of the evening is slowly dying...the silence is falling all around...here is a large village on the way...here is my troika driver...his jealousy is hot... And he sings slowly...your beauty seduced me...and all I have left is the world of hate...why was I fascinated by you...and even if I don't like your soul...it seems to me that I won't sing much anymore...it doesn't amuse me anymore to sing...soon probably and under the ground...they will cover the body of the troika driver...my horses are sad because of me...after we parted in two...they will not gallop anymore...along the main road [the King's Road]...and a young girl ?...May your breath stop?...When you visit the cemetery regularly?...Visit my grave?...With a tormented heart...When your face is covered in damp earth...You whisper to me, we parted forever...and your beauty remains With you... tears in my eyes... but they weren't wiped away... they didn't really rush to stop either... they fell out of their own accord... they say that the troika driver is gone... and the poor girl is suffering... little by little she is fading... because of the poor car.
Slightly altered in song practice excerpt from Fyodor Glinka's poem "The Dream of the Russian in a Foreign Land" written in 1825 and first published in the almanac "Venus" in 1831. Often this passage is self-published under the title "Troika" (see at the end of the page). The music was put by A.S. Verstovsky in 1828 (song melody "Bells"). In the future, music was written by I. A. Rupuin (1831), M. J. Vielgorsky (1852), J. F. Prigozhiy (1897), E. F. Naspravnik (vocal quartet, 1906), but the greatest popularity remained behind the motif.
<1901> The song became popular in the late 19th and early 20th centuries. Its size and some lines go back to A. Anordista's song "The Ring of the Call and the Three Is Racing" ("Here on the way the village is great"). The song of an unknown author using fragments of several popular earlier songs about the threesome: the first line, as well as the appeal of "Children"-probably from "Troika" by Fyodor Glinka <1825> (see the song "Here's the three of them remote"); the last verse-from "Troika" by N. Anordist ("The Ring of the Call, and the Three Is Racing...", <1839>). The main text is re-composed.
https://cyclowiki.org/wiki/%D0%92%D0%BE%D1%82_%D0%BC%D1%87%D0%B8%D1%82%D1%81%D1%8F_%D1%82%D1%80%D0%BE%D0%B9%D0%BA%D0%B0_%D0%BF%D0%BE%D1%87%D1%82%D0%BE%D0%B2%D0%B0%D1%8F_(%D0%BF%D0%B5%D1%81%D0%BD%D1%8F)///"Here's the three postal" is a Russian folk song. This means that the songwriters are unknown. Possible author of poems: Leonid Trefolev, as in any case, the philologist Chelyshev Boris Dmitrievich counted. The song belongs to the so-called pit songs,dating back to 1901. Apparently, the author was inspired to create her previous songs about threes and pits-there were a lot of them in the Russian song culture, and the beginning of them was a romance on the poems of Fyodor Glinka with the music of Alexei Verstovsky "Here is the three of them remote". Even in the titles there is a roll call: "Here's the three rushing remote"-"Here's the three mailings." The influence of other songs about the "troika" is also felt, including the last verse echoes with "Troika" by N. Anordista (Nikolai Radostin) "The bell rings, and the three are racing...",1839. But all this does not interfere with the popularity of the song. A fragment of the melody is played in the Chinese Brick Game (Tetris) in case of loss. The lyrics and musical elements vary by the performers in different ways-it always happens when the song becomes popular and enters the very structure of the song folk culture. The history of one song. When I served as a coachman at the post office, and here comes the postal troika Let's return to the cycle of coachmen's songs. This time, let's talk about two songs again. Who composed the song “Here the postal troika rushes”? Or “Steppe and steppe all around”? Or the song “When I served as a coachman at the post office”? If we look into the catalog of the All-Union Radio Record Library, we will see marks on the cards: “folk song”. Or - "words of the people." Indeed: all these are folk songs. They are sung everywhere and for a long time. People love and remember them. And he passes on to new, young generations as his spiritual heritage. But at the same time, the concept of “folk song” does not mean at all that the song was composed by the whole people, that it had no authors - the one who invented the words and the one who put them to music. Were. Only their names either remained unknown to anyone, or were forgotten. And the song went. And it became popular. People shortened some words, corrected others, replaced them, adding their own, sometimes rearranging couplets. In other songs, very little remains of the original text. And yet the authors of all these songs were.The history of one song. When I served as a coachman at the post office, and here comes the postal troika Who composed the song “Here the postal troika rushes”? Or “Steppe and steppe all around”? Or the song “When I served as a coachman at the post office”? If we look into the catalog of the All-Union Radio Record Library, we will see marks on the cards: “folk song”. Or - "words of the people." Indeed: all these are folk songs. They are sung everywhere and for a long time. People love and remember them. And he passes on to new, young generations as his spiritual heritage. But at the same time, the concept of “folk song” does not mean at all that the song was composed by the whole people, that it had no authors - the one who invented the words and the one who put them to music. Were. Only their names either remained unknown to anyone, or were forgotten. And the song went. And it became popular. People shortened some words, corrected others, replaced them, adding their own, sometimes rearranging couplets. In other songs, very little remains of the original text. And yet the authors of all these songs were. “Here the postal troika is rushing” and “When I served as a coachman at the post office” are Russian folk songs. This means that the authors of the song are unknown. However, Leonid Nikolaevich Trefolev was a possible author of the poems, at least the philologist Chelyshev Boris Dmitrievich thought so. The song belongs to the so-called coachmen's songs , dates back to 1901. Apparently, the author was inspired to create it by previous songs about troikas and coachmen - there were a lot of them in Russian song culture, and they started with a romance on the verses of Fyodor Glinka with music by Alexei Verstovsky "Here the daring troika rushes" . Even in the names there is a roll call: “Here is the daring troika rushing” - “Here is the postal troika rushing”. The influence of other songs about “troikas” is also felt, including the last verse echoing the “Troika” by N. Anordist (Nikolai Radostin) “The bell rings, and the troika rushes ...”, 1839 Irakli Andronnikov also pointed out the authorship of the words: “Following Surikov, the Yaroslavl poet-democrat Leonid Nikolayevich Trefoliov told about the tragedy of the coachman in a poem that is called “Coachman”. And it is a translation from the Polish poet Vladislav Syrokomly (a pseudonym under which the poet Ludwik Kondratovich printed poems). When I served as a coachman at the post office, I was young, I had a strong woman, And strong, brothers, in one village I loved a girl at that time. One day, in a snowstorm, the boss sent a coachman with a line package. He saw a frozen man on the road: And the snow has completely covered that find, The snowstorm is dancing over the corpse. I dug up a snowdrift and rooted to the place, Frost came under a sheepskin coat. Under the snow, brothers, she lay…Brown eyes closed. Pour, pour more wine, There is no more urine to tell! However, the original poem is more dramatic in content. ORIGINAL POEM, Coachman, Leonid Trefolev. We drink, have fun, and you, unsociable, Sit like a slave in the gate. And we will reward you with a glass and a pipe, When you tell us grief. The bell does not amuse you sometimes, And the girls do not amuse. You've been living in sorrow for two years, friend, with us, - You were not met cheerful. “I am bitter even so, and without a cup of wine, Not nice in the world, not nice! But give me a cup - she will help Say that I'm tired. When I served as a coachman at the post office, I was young, I was strong. And I was hardly a bonded sign, I was tortured by a terrible race. I rode at night, I rode during the day; They gave me a bar for vodka, We’ll get a ruble and quietly kutnem, And we rush, hitting everyone. There were many friends. The caretaker is not evil; We even became friends with him. And the horses! I whistle - they will rush with an arrow...Hold on, rider, in the carriage! Oh, nice I went! It happened, by sin, You will exhaust the horses in order; But, as you carry the bride with the groom, you will probably get the Chervonets. In a neighboring village, I fell in love with a girl. Loved in earnest; Wherever I go, I’ll turn to her, To be together for at east a minute. One night, the caretaker gives me an order: “Live, take the baton!” Then the bad weather stood with us, There is not a single star in the sky. The caretaker quietly, through his teeth, scolding And the evil driver's lot, I grabbed the package and, jumping on a horse, Rushed across the snowy field. I'm driving, and the wind whistles in the dark, Frost tearing at the skin. Two versts flashed, on the third verst...On the third... Oh, my God! Amidst the whistles of the storm I heard a groan, And someone asks for help, And with snow flakes from different sides Someone is carried in the snowdrifts. I urge the horse to go rescue; But, remembering the caretaker, I'm afraid, Someone whispered to me: on the way back you'll save a Christian soul. I got scared. Hardly I breathed, Trembling from horror of a hand. I blew a horn to drown out Deathly faint sounds. And at dawn I'm going back. I was still scared, And, like a broken bell, out of tune My heart beat timidly in my chest. My horse was frightened before the third verst And his mane fluffed up angrily: There the body lay, a simple canvas Yes covered with snow. I shook off the snow - and my bride I saw the extinct eyes...Give me wine, let's hurry, There is no urine to tell further! <1868>In the original poem, there is a situation of a real moral choice, and the narrator in it looks far from attractive: Amid the whistling of the storm, I heard a moan, And someone asks for help, And snowflakes from different sides Brings someone in the snowdrifts. Those. she was still alive, she could be saved! And not at all immediately, as in the song: a corpse on the road ... I urge the horse to go rescue; But, remembering the caretaker, I am afraid...And here the author draws the cowardice of the coachman, in fact - his personal guilt in the death of the unfortunate woman, whom he left without help out of fear. Someone whispered to me: on the way back you will save a Christian soul. So always helpfully "someone" tells us in a critical situation that someday later, when we do our own business, we will have time to help our neighbor ... Especially who knows. I got scared. Hardly I breathed, Trembling from horror of a hand. I blew a horn to drown out the dying faint sounds. He even involuntarily, completely senselessly (but psychologically and artistically very accurately!) creates a noise around himself, probably to drown out the voice of conscience, calling to help a clearly dying person - to help, perhaps to his own detriment. Isn't that how we sometimes justify ourselves? And as if in the form of a mystical punishment for the cowardice shown by the coachman, this person, frozen through his fault, soon inexorably turns out to be ... precisely his beloved...I shook off the snow - and my bride I saw the extinct eyes...That is why he then remains in sorrow for two years, he is bitter, not sweet in the world, he is still tormented, remembering - not just some kind of misfortune, but his own sin, which does not give him rest! Those. the idea of the poem can be formulated something like this: "do not put off helping the needy, he can really be your neighbor." In the song, all this is lost, and we hear only the usual folk horror story, without internal logic. It turned out, as it were, a pure accident that he suddenly found in the frozen steppe exactly the girl he loved. And it is not entirely clear why he suffers for so long and so much - moreover, it is clearly in connection with the very event, and not only because of the fact of her death...Interestingly, in the folk song version, the drama of the story is greatly softened, one might even say that the most important thing is lost. A little about the author of the poems.The history of one song. When I served as a coachman at the post office, and here comes the postal troika L. N. TREFOLEV. Leonid Nikolayevich was born on September 9 (21), 1839 in the city of Lyubim, Yaroslavl province, in the family of a petty official. He graduated from the course at the Yaroslavl Gymnasium (1856) and the Yaroslavl Demidov Law Lyceum. He lived almost all his life in Yaroslavl. From 1856 to 1866 - assistant editor, from 1866 to 1871 - editor of the unofficial part of the Yaroslavl Gubernskie Vedomosti. He served for some time in the Yaroslavl provincial government. From 1872 until his death he served in the Yaroslavl Zemstvo. Since 1857, he began to be published in the newspaper "Yaroslavl Gubernskie Vedomosti". For several years, his poems (“Ivan Susanin”, “Katania”, etc.) and translations (“The Good Old Woman” by Beranger) were printed there. Since 1864, Trefolev began to publish in the capital's publications: Den, Delo, Iskra, Entertainment, People's Voice, Domestic Notes (in the 1880s), Vestnik Evropy, Observer , "Russian Thought" and others. Since 1872, he edited the Bulletin of the Yaroslavl Provincial Zemstvo. In 1900 and in 1903-1905 he was the chairman of the Yaroslavl Provincial Scientific Archival Commission. Leonid Nikolaevich died on November 28 (December 11), 1905 in Yaroslavl. He was buried at the Leontievsky cemetery of Yaroslavl. Trefolev translated the poems of Slavic and Polish poets (most of all V. Syrokomlya). The translation of the poem "Coachman" ("Postman") by V. Syrokomli under the title "When I served as a coachman at the post office" became a folk song. Leonid Nikolaevich also translated poems by P. Dupont (fr.) Russian, G. Heine, G. Herweg, T. ShevchenkoThe history of one song. When I served as a coachman at the post office, and here comes the postal troikainto Russian.The history of one song. When I served as a coachman at the post office, and here comes the postal troika In 1960, sculptor A.N. Chernitsky, architect B.L. Khutoryansky made the bust. The pedestal is decorated with colorful characters - barge haulers, poor peasants, city dwellers, i.e. "little people"; the monument has the status of regional significance.The history of one song. When I served as a coachman at the post office, and here comes the postal troikaIncluding dedicated to the song "When I served as a coachman at the post office" WHEN I WORKED AT THE POST OFFICE. The history of one song. When I served as a coachman at the post office, and here comes the postal troikaIn the same year, Trefolev wrote another poem, which is intended to be opposed to Fyodor Glinka's Troika, at least by the proximity of the first line: Here is a postal troika rushing along the Mother Volga in winter. The coachman, humming dejectedly, Shakes his wild head. From a conversation with a friendly rider, it turns out that the “rich” and the headman intervened in the life of the coachman: Ah, dear sir, good sir, It's almost a year since I love, Yes, the wicked headman-Tatar scolds me, but I endure. Ah, dear gentleman, Christmas time is coming soon, And she will no longer be mine: The rich one has chosen, but the hateful one, She will not see merry days! .. Who wrote the music to the words of these Trefol poems has not yet been established. B.D. Chelyshev pointed out Trefolev in the press (and Vyacheslav Ivanovich Klyuev pointed out Irakli Andronnikov). But from the fact that the name of the poet is established, the song does not become less popular. On the other hand, its “age”, its “evolution”, is being clarified, because in folk song usage, the poetic text, as already mentioned, sometimes undergoes very strong changes. But all this does not prevent the popularity of the song. Interestingly, a fragment of the melody is played in the Chinese Brick Game (Tetris) in case of loss. The text of the song and some musical elements are varied by the performers in different ways - this always happens when the song becomes folk and enters the very structure of folk song culture. Here is a postal troika rushing along the Mother Volga in winter, The coachman, humming dejectedly, Shakes his violent head. "What are you thinking about, kid? - Sedoc affably asked. - What a sadness in the heart, Tell me, who upset you? “Ah, master, gentleman, good gentleman, It will soon be a year, as I love, And the wicked elder, Tatar, (option: Her father, like an evil Tatar) scolds me, but I endure. Ah, sir, sir, Christmas time is coming soon, And she won’t be mine anymore, The rich one has chosen, but the hateful one-She won’t see happy days ... ” The driver fell silent and the whip belt With annoyance, he plugged it into his belt. "Family, stop! Restless! - He said he sighed sadly. For me, the horses will feel sad, Having parted, greyhounds, with me, And I will no longer rush along Mother Volga in winter!.
Here the daring troika rushes, Here rushes a troika of a daring, Russian romance, related to the so-called coachman songs; authors: poet Fyodor Nikolaevich Glinka (1786-1880), composer Alexei Nikolaevich Verstovsky (1799-1862). In 1825, the poet Fyodor Glinka composed a poem "The Dream of a Russian in a Foreign Land", in which there were several lines about "a daring troika, rushing along the pole road." The poem was published in the almanac "Venus" a few years later, in 1831.
But the composer A. N. Verstovsky saw this poem even before its publication - in 1828 he set to music a fragment about three horses and a coachman's song. This is how the song was born, which immediately entered the repertoire of the composer's wife Nadezhda Repina. And so on / Somehow it happened that I missed the cycle of coachman songs at one time. it is necessary to fill this gap, Here is a daring troika rushing Along the pillar road, And the bell, a gift from Valdai, Buzzing sadly under the arc. The coachman is dashing - he got up from midnight, He felt sad in the silence - And he sang about clear eyes, About the eyes of a girl-soul: “Oh, eyes, blue eyes! You have crushed the fellow; Why, oh people, evil people, did you tear their hearts apart? Now I am a poor orphan! .. ” And suddenly he waved at all three -
And the fellow amused himself with the three, And Fyodor Glinka was filled with a nightingale The dream of a Russian in a foreign land The candle, slightly warming, was burning out, The fireplace, smoking, was extinguished; A dream was humming something to me , And a dream bewitched me ... I fell asleep - and I see the valleys In a festive spring outfit And country pictures of the Treasured Russian side! .. The horn is playing, the yelts are ringing, And the boys and girls are driving their flocks to the wet meadow. Already breathed, breathed a warm spirit of Spring life and freedom From the long and harsh winter. And they are torn from their prison And they whip boiling water from the mountains. Swimmers on the plows with a roar A long response rushes with a roar; And widely walks Volga in its protected grasslands. Glade ants dressed, and, instead of palm trees and lush roses Thick younger eat, and pouring the smell of birch ..! And rushes triple daring to Kazan road pole, and a bell - a gift of Valdai - Buzzing, swaying under an arc ... The young driver runs from midnight: He felt sad in the silence, And he sang about clear eyes, About the eyes of the maiden-soul: “Oh, eyes, blue eyes! You have dried up the fellow! Why, oh people, evil people, Why did you cut hearts apart? Now I am a bitter orphan! " And suddenly he waved at all three ... But I parted with a sweet dream, And a foreign picture Shone splendidly before me. The German city ... everything is beautiful, But I silently sighed in meditation Sighed on the side of my native ... The cycle continues.
ABOUT RUSSIAN "TROIKAS" Who composed the song "Here's the troika rushing by"? Or "Steppe and steppe all around"? Or the song “When I served as a coachman at the post office”? If we look into the catalog of the All-Union Radio's record library, we will see the labels on the cards: "folk song". Or - "the words of the people." Indeed: all these are folk songs. They are sung everywhere and for a long time. The people love and remember them. And it is passed on by inheritance to new, young generations as its spiritual heritage. But at the same time, the concept of "folk song" does not mean at all that the song was composed by the whole people, that it did not have authors - the one who invented the words and the one who put them to the music. Were. Only their names either remained unknown to anyone, or were forgotten. And the song has gone. And it became popular. The people shortened some words, corrected others, replaced them, adding their own, sometimes rearranging the verses. In some songs, very little remains of the original text. And yet, all these songs had authors. For example… But first, I’ll tell you what led me to speculate about Russian folk song. It began with the magazine "Krugozor". I offered to tell on its pages about Russian troikas in poetry and music, attaching flexible discs with recorded songs. And he has already begun to project out loud the future beginning - from Gogol 's "Dead Souls" - "Eh, three! bird three, who invented you! " Yes, and carried away. And how not to get carried away by Gogol! “The coachman is not wearing German jackboots: beard and mittens, and the devil knows what; but he got up, and swung, and started a song - the horses like a whirlwind, the spokes in the wheels mixed into one smooth circle, only the road trembled, and a pedestrian who stopped screaming in fright - and there she rushed, rushed, rushed! ... , Russia, that a brisk, unattainable troika rushing? .. " These lines are undoubtedly the greatest image of the Russian troika, an image that has become a symbol. This is also the Russian troika. And this is Russia, past which "everything that is on the earth flies, and, glancing sideways, other peoples and states give way to it." And suddenly it became clear that this super-genius Gogol creation is associated with Russian folk poetry - with songs about troikas and coachmen singing daring and mournful songs. And one more thing became clear that Pushkin introduced this theme into the great Russian poetry : On the winter road, boring The three greyhound runs One-sounding bell Thunders tiresomely. Something is heard native In the long songs of the driver: That revelry is daring, That heartfelt anguish ... Pushkin's Winter Road was first published in 1826 in the Moscow Bulletin magazine. In 1831, notes were published with a picture depicting a Russian troika - "Winter Road", music by A. Alyabyev . And four years later, this song became so famous that Pushkin's text was already included in Ivan Guryanov's “Songbook” - a sure sign that at the beginning of the 1830s everyone had heard of its motive. Through the wavy mists The moon is making its way To the sad glades She glows sadly ... Even more famous is the Troika, which has flown all over Russia - the creation of the Decembrist poet Fyodor Glinka : Here the daring troika rushes To Kazan by an expensive pole, And a bell, a gift from Valdai, It hums sadly under the arc. The driver is dashing - he got up at midnight, He felt sad in the silence. And he sang about clear eyes, About the eyes of the girl-soul: “You, eyes, blue eyes, You have crushed the fellow. Why, oh people, people are evil, You have severed their hearts! Now I am a bitter orphan! ... " And suddenly he waved at all three. And the fellow amused himself with a three, And he was filled with a nightingale. Initially, this text was part of another poem by Fyodor Glinka, published in 1825 in the newspaper "Northern Bee". Seven years later it was published again - in the Russian Almanac for 1832 - 1833, with the title Troika and with a note from the editor: “This song, which has become popular, in its original form was part of FN Glinka's poem“ A Russian's Dream in a Foreign Land ”. It was not particularly printed, and therefore it was sung with various changes. Here it is placed at the request of the writer himself, just as it came out from under his graceful pen ”. But who composed the music to the text of Fyodor Glinka? Do not rush your interlocutor, even if he is a musician. Let me see. The majority will answer you: "A folk song." Others will add: “It is called not“ Troika ”, but“ Bell ”. And rare people will name the composer Alexei Nikolayevich Verstovsky - the most famous author of the operas "Pan Tvardovsky", "Askold's Grave", "Thunderbolt" at that time ... He wrote the song to Glinka's words in 1828. In three years it became popular. Verstovsky was not the only one to set the words of Fyodor Glinka to music. There is music to these words by Ivan Rupin , written in 1831. And Alexander Dubuc . There is one more song to these verses by FN Glinka. On the sheet music it says: "Bell". Music by Count M.Yu. Vielgorsky , words by A. Pushkin ”. Obviously, the name of the Decembrist poet Fyodor Glinka did not suit the censorship or the publisher. In 1834, in the St. Petersburg almanac "Novoselye", as if in response to Fyodor Glinka's "Troika", another famous "Troika" appeared, which was even entitled - "Another Troika". This poem begins with the words: The three rushes, the three gallops, Dust curls from under the hooves; The bell is crying loudly And he laughs and squeals. On the way loudly There is a bright ringing; Then it will clear away in the distance, Then he will groan dully ... This was written by a friend of Pushkin, a very famous poet at that time, Pyotr Andreevich Vyazemsky . Since that time, "troikas" began to appear one after another. We'll tell you a little later about who wrote the music for this song. In 1837, the tertiary Petersburg poet Konstantin Bakhturin , who was later related to the libretto of Mikhail Ivanovich Glinka's future opera Ruslan and Lyudmila, published a collection of poems in which he published The Coachman's Song. Al again not to be seen The old red lobe? I'm not myself in my soul, I dry as if in captivity. And I have been far away: With a ghastly three I will rush and fill A lively song. Not a whip Let's lead - Only with a mitten And on the stumps, Over the hills Horses rush like a bird ... It goes on to say how the young man sang and walked and took a walk - day and night he suffers for his "paw". This "Song" was set to music by the famous novelist Alexander Lvovich Gurilev in 1840 . There is another for these words - which was composed by Nikolai Alekseevich Titov . In 1839 in Moscow, in the printing house of August Semyon , "Almanac" for 1840 by N. Anordista was published . In this almanac, four poems are published under the general title "Three, revised, four." They vary the lines of Pushkin, Fyodor Glinka and Vyazemsky - there are three “greyhound horses”, and a coachman, and a song about a beloved, and paraphrases “eyes of a girl-soul”, and “Why, why, oh evil people, you have disturbed our peace "... The first of these "threes" became a common song that still lives on today. Anordist's poem begins like this: The bell rings, and the troika is racing ... But the people rejected this initial stanza, and the song begins with the second: Here is a large village on the way, - There my coachman looked; His zealous beat And slowly he began to sing: “Your beauty has seduced me, - Now the whole world is hateful to me; Why, why bewitched, If I am not sweet to your soul! " In this song, the driver foresees his imminent death, says that "horses will thicken about him", dreams that "a young girl" will come to his "grave": They say he was gone, Poor maiden in anguish, She untimely faded Sad for the poor coachman. It is not clear from the text why the girl, who did not love the driver, untimely fades at a point on him. And it is clear that in the folk song version this stanza is also discarded. The literary source of the song was unknown for a long time. It was established already in our time by Ivan Nikanorovich Rozanov , a remarkable connoisseur of Russian poetry and folk poetry . But Anordist could not figure out the secret of the surname. In his opinion, the entire almanac - it contains more than three hundred pages - contains the works of one author. Apparently it is. And most of all, N. Anordist is a pseudonym. However, the compiler of the excellent bibliographic work "Russian Poetry in Russian Music" G.K. Ivanov indicates that the name of Anordist was Ivan. It is taken from the notes by him. But how N. Anordist became Ivan has not yet been established. Among the most popular "Troikas" is the one that Nadezhda Andreevna Obukhova performed in her concerts : Dust is spinning in a column, curling On the road among the fields. Whirlwind rushes and rushes Three greyhound horses ... In the following lines, the "riotous" driver sings a Russian song and "is filled with a nightingale" under the "jellied bell". And although his song is daring, loud, with a whistle, falling silent in the distance, it gives rise to an alarming and dreary feeling in the poet's soul. The words of this song were composed by the now unknown, and in the last century, a very prolific poet Vasily Chuevsky . As for the music, it was written by P.P. Bulakhov . The song “There’s a big village on the way” to the words of Anordist was also written by PP Bulakhov. And the song to the words of Vyazemsky - "Troika rushes, troika gallops" - also PP Bulakhov. Allow me! How to understand? PP Bulakhov - the author of three "Troikas"? No! Here we must remember that there were three Bulakhovs in the history of Russian music. And everyone's name begins with the letter P. The elder Bulakhov - Peter Alexandrovich , a famous Moscow singer in the 1920s and 1930s, owner of a tenor of extraordinary softness and beauty, was not only an opera singer, but also a composer of music. He had two sons - Peter Petrovich and Pavel Petrovich . Pavel also had a tenor voice and in the 1850s - 1860s was famous as a great opera singer and at the same time also composed romances and songs. But the most outstanding of them was the eldest son of Peter Alexandrovich - Peter Petrovich, who possessed not only a tenor, but also a remarkable talent as a composer. He, more than a brother and than a father, was destined to glorify this talented family. Now is the time to say that Pavel Bulakhov wrote the Troika to the words of PA Vyazemsky “The troika is racing, the troika is galloping”. And “Troika” to the words of Chuevsky and “There’s a big village on the way” with beautiful music to the words of Anordist are the songs of Pyotr Bulakhov. It so happened that it was these two of his songs that became the most popular. He - Peter Petrovich Bulakhov - owns the paraphrased folk songs "There was a birch tree in the field" and "The snows were not white", which Selifan, Chichikov's coachman, sings in "Dead Souls". However, there is an assumption that the last two - paraphrases of folk songs - belong to their father, Peter Bulakhov Sr. Before me are the notes: “Gypsy song“ Here is a big village on the way ”. Arranged by P. Bulakhov. Moscow. In A. Miller's music store ”. Censored Authorization - October 26, 1845. Only five years have passed since the publication of N. Anordist's anthology, and the song is already widely known in the “arrangement” of P. Bulakhov. Obviously, “gypsy” here does not mean a genre, but connects the song with a performer from a gypsy choir. The designation “a gypsy song composed by P. Bulakhov” would deprive it of its specific qualities, it would be perceived as an imitation of a gypsy song. I think that in this case the arrangement is equal to the composition. The mysterious N. Anordist began his poem with the line “The bell rings, and the troika is racing”. Another obscure poet, Grigory Malyshev, began his story in much the same way: “The bell rings, and the troika is racing”. The same Ivan Nikanorovich Rozanov was the first to draw attention to the similarity of these principles. The Anordist wrote a sad poem. Malyshev writes about a joyful moment. For fifteen years the young warrior has not been at home, and unexpectedly enters, unrecognized, into the circle of relatives, and reveals himself. The poem is called "A Date in Fifteen Years." A book of poems by Malyshev appeared in 1848. He was not a professional poet. A soldier's son, he himself served in the army, and then was regent at the St. Petersburg Court Singing Chapel. The book of poems is preceded by a preface, from which we learn that at seven years old Malyshev was separated from his family and given to a "state institution", and when he reached seventeen he participated in the Turkish war, and later in the Polish campaign. Obviously, the poem tells the fate of Malyshev himself. If he was cut off from his family at the age of seven, studied for ten years, and then participated in two campaigns, then about fifteen years have passed, and his family may not really recognize him. It can be assumed that "A Date in Fifteen Years" was written under the vivid impression of a meeting back in the 1830s. And that it was not Malyshev from Anordist, but Anordist from Malyshev who borrowed the construction of the first line, all the more so because Anordist himself assured readers that his "Troikas" represent "alterations" of well-known, in other words, contain echoes of other people's writings. Beginning with the line “The bell rings, and the troika is racing,” Malyshev again ended the poem with a triplet: The bell rings. The coachman rushes There is already one on the way back; And again the song is heard In the distance, you can barely hear: ding, ding, ding. Who wrote the music to these words? I think that since Malyshev served as regent in the Court Chapel, he probably composed the music himself. The song is great. Nikolai Alekseevich Nekrasov “turned” this theme deeply and completely in a new way in one of his early poems - 1846 . In his poem "Troika", it is not the driver who drives the troika who sings about his beloved, - here the poet speaks of the fate of the girl, whose heart beat at the sight of the troika taking away the handsome cornet: That you greedily look at the road Aside from cheerful girlfriends? To know, my heart beat the alarm - Your whole face flashed suddenly ... Nekrasov's poem is a prediction of her future tragic, hopeless fate. Do not look longingly at the road And do not rush to follow the troika, And anxiety in my heart Quickly drown out forever. Both Gogol's and this - Nekrasov's - "troika" are associated with the song tradition. Her inner drama, depth of content, civic pathos inspired six composers - Olga Bernard , who composed the song "Rural Beauty" in 1852, N.F. Vitelaro , who set Nekrasov's poem to music (published in 1856), A.I. Dyubyuk ( in 1857), N.M. Leontiev (in 1857), S.A. Zybin (in 1858). N.A. Obukhova sang the song of N. Leontiev. The notes of this composition read: “N. Leontiev. Gypsy song "Troika". Re-arranged by A. Dyubyuk. 1857 ". Apparently, in the 1850s this "Troika" was sung by the gypsies from the choir of Ilya Sokolov, who made it successful . As for the widespread song to these words, which was performed by M.P. Maksakova , it was obviously written by A.I.Dyubyuk. To the cycle of the best songs about triplets, one should include the famous “The bell is ringing monotonously”, the words of which were composed by I. Makarov . Until very recently, we did not know exactly anything about this poet, except for his surname. And even that was installed only in the 1930s. But lately, the Perm philologist Alexander Kuzmich Sharts discovered the most interesting materials in the Perm Regional Archive and found out that Makarov was a serf of the landowner Vsevolozhsky, that he was born in 1821 in the family of a coachman who served at the post office. As a child, the future poet constantly traveled with his father and knew the coachman life and coachman songs well. Makarov's father died on the road - he froze. Hearing that young Makarov was writing poetry, the landowner gave him to the soldier. But he was also punished in the soldiers. For unauthorized absence from home, they were assigned as a coachman in a convoy company, which accompanied the exiles on their way to Siberia. In 1852, at the age of 31, Makarov died. The same as the father. Frozen on the road. Manuscripts were found in his bag - these were his poems. The information I have given about Makarov was published by the literary critic Svetlana Magidson , who announced it on the radio . Makarov's poem “The bell is ringing monotonously” inspired the wonderful melodist Alexander Lvovich Gurilev , whose name we have already mentioned. In 1853 he wrote a song, which is still included in the repertoire of many singers and choirs, and is performed with a guitar and accompanied by an orchestra of folk instruments. And although this song does not contain the word "troika", this is a song about a troika, about a coachman and his song. In addition to Gurilev's "Bell" to these words of Makarov, there is another song composed by an author unknown to us. It is constantly performed on the radio and in concerts and is loved for its simplicity and noble motive. As time went. The traditional genre of the “coachman romance” - the complaints of the driver in love - became more complicated and took on a more and more tragic character. It is worth comparing the poem of the peasant poet Ivan Zakharovich Surikov with Fyodor Glinka's Troika . Steppe and steppe all around The path lies far In that deaf steppe The driver was dying ... If you remember the fate of Makarov, it will become clear that Surikov's poetic story is taken from life itself. The song to Surikov's words was written by S.P. Sadovsky . It is interesting that this composer has no other published songs: “Steppe and steppe all around” is his only recorded work. This is already the end of the 1860s. Following Surikov, the Yaroslavl poet-democrat Leonid Nikolaevich Trefolev told about the tragedy of the coachman in a poem that is called “The coachman”. And it is a translation from the Polish poet Vladislav Syrokomli (a pseudonym under which the poet Ludwik Kondratovich published his poems ). When I served as a coachman at the post office, I was young, I had strength, And strong, brothers, in one village I loved the girl at that time. Once, in a blizzard, the chief sent a driver with a line package. He saw a frozen man on the road: And the snow has already brought that find, A blizzard dances over the corpse. I tore up a snowdrift and grew to the place, Frost went under the sheepskin coat. Under the snow, brothers, she lay ... Hazel eyes closed. Pour, pour more wine, No more urine to tell! In the same year, Trefolev wrote another poem, which is deliberately opposed to Fyodor Glinka's Troika, at least by the closeness of the first line: Here is the troika zip On the Volga-mother in winter. The coachman, humming sadly, Shakes his violent head. From a conversation with a friendly rider, it turns out that the “rich” and the headman intervened in the driver's life: Ah, dear sir, dear sir, Soon a year, as I love, Yes, infidel, headman-Tatar Cheers me, but I endure. Ah, dear sir, Christmas is coming soon, And she will no longer be mine: The rich chose, but the hateful, She will not see happy days! .. Who wrote the music to the words of these Trefole poems has not yet been established. But, as we can see, the texts of all these were composed by poets - famous, little-known and simply unknown. The authorship of Anordist, Malyshev and Makarov was established by the late IN Rozanov, Trefolev was pointed out in print by BD Chelyshev (and to me - Vyacheslav Ivanovich Klyuev ). But because the name of the poet has been established, the song does not become less popular. But its “age”, its “evolution” becomes clear, for in folk song usage the poetic text, as already mentioned, sometimes undergoes very strong changes. So, from Vyazemsky's "Troika" only six of forty lines remain, the rest of the text is a work of performers unknown to us. This song is often heard on the radio and in concerts - daring, dashing, happy: Rides, rides, rides to her, Goes to his love. Whoa! .. and the troika suddenly settled down At a familiar porch. The girl flew into the sleigh And kisses the fellow ... All this is not in Vyazemsky's poem. Fyodor Glinka has the first lines: Here the daring troika rushes To Kazan by an expensive pole. Kazan, important for the poet for some personal associations, soon disappeared. The people began to sing: Along the pole track. And it is understandable: Kazan is too specific, and it is not clear why the troika rushes to Kazan, and not to some other city. By the way, the folk version is always better than the literary one and is more convenient for singing. Ivan Nikanorovich Rozanov, whose name I remember more than once, called the people a great critic and editor. This is a great formula. Among Russian folk songs - elegiac and daring - songs about troikas have a special place. These are songs about songs. They are sung by the coachmen, telling about their bitter lot or revealing the riches of their souls. The people themselves sing in their faces. These are folk songs about the people. An endless theme! .. Pushkin, Gogol, Nekrasov, Blok are involved in it ... Dedicating one of his greatest poems to Russia, Blok remembered - the coachman's song, and the "road distance", and the three: Again, like in golden years, Three worn out straps, And painted knitting needles stuck In loose ruts ... “Give me three horses fast as a whirlwind, sit down, my coachman, links, my bell, soar, horses, and carry me out of this light,” Blok quotes Gogol. And he writes that in the image of a troika, like a dazzling vision in a brief creative dream, future Russia flashed to Gogol: “… Uh! What a sparkling, wonderful, unfamiliar distance to the earth! .. Russia, where are you rushing? Give an answer. Doesn't give an answer. The bell is filled with a wonderful ringing; the air ripped into pieces thunders and becomes the wind ... " When we remember songs in which unseen troikas are racing, we hear voices in memory - N. Obukhova, M. Maksakova, V. Levko, I. Arkhipova, L. Ruslanova, L. Zykina, we hear I. Kozlovsky, S. Lemeshev, V. Noreyk, I. Skobtsov, B. Gmyryu, N. Kondratyuk . And the harmonious sound of the choirs ... Many sing these inspired songs. More than a hundred of them are read - Russian triplets: “A whirlwind rushes up the mountain”, and “Harness, coachman, rather a three”, and “Three, three, how much oblivion you give”, and “Gaida, three, fluffy snow”, and “On the last I’ll hire three horses ”, and the famous“ Coachman, don’t drive the horses ”... Even from the first lines it is easy to understand that these songs are no longer about coachmen, but about riders. They arose at the end of the last - the beginning of this century, for the most part these are pop songs that have little in common with those truly folk songs that were created in the 19th century and are still sung. Surprising! .. In our age of cars, flying vehicles moving faster than sound, space rockets, when the troika will surprise no one with its speed, the songs about the troika are still surprising. And they please. And they make you think. And sometimes to be sad. …Well! This is the property of true poetry - it is always modern, for in the songs about the troika the Russian national character was poured out, the soul of the people, all the heat, all the range of their feelings appeared. And although there is no longer that life, no triplets, no coachmen, no passing cornet, the song lives and sounds over the world, and, as Gogol said, it winds around the heart. Irakli ANDRONIKOV. Publishing House "New Look" RELATED POSTS: BBMAK ACCUSES MADONNA Members of BBMak claim that Madonna and her husband Guy Ritchie stole their video idea. According to the musicians, the video "What I Feels Like For A Girl" by the famous pop diva is very similar to their video for the song "Still On Your [Read ...] $ LF ONE COMMENT Nina Belova : 11/21/2012 at 13:52 The topic of Russian triplets has long interested me as a teacher of literature and as a performer of Russian romances and songs. For many years I have been conducting meetings in the “Music Box” living room. On the eve of the New Year, I decided to hold a meeting on Russian troikas in songwriting. The material published on the site turned out to be very useful. Now I will sing songs familiar from childhood, and tell about them, using the rich material of the article. Thanks! To answer LEAVE A COMMENT Name e-mail (not published) ALSO IN THIS ISSUE: V. CHOI'S FANS STILL ALIVE I WANT TO EVALUATE WHAT THE ARTISTS DO, HOW THEY SPEAK - THEY DO HELLO, "MUZOBOZ" AND ITS READERS! EMOTION OF THE WEEK "I STAY HERE" WEEKENDS RETURN THE FUTURE TO YOURSELF ALIBASOV AGAINST SNEZHINSKAYA. OR VICE VERSA VILLY TOKAREV - LENIN'S NAME, STALIN'S APPEARANCE, AND THANKS TO GORBACHEV NATASHA KOROLEVA AND CO. OF TERRIBLE AUNTS! HELLO!!! “MANEZHNAYA SQUARE”: UNDERGROUND TREASURE OF THE CITY TREASURE THE OLD MOVIE IS BETTER THAN THE NEW TWO ALEXANDER KHWAN LAUNCHED "SHIT ..." 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12.06.2019, L trefolev. Literary map of the Yaroslavl region, Leonid Nikolaevich was born on September 9 (21), 1839 in the city of Lyubim, Yaroslavl province, into the family of a minor official. He graduated from the course at the Yaroslavl gymnasium (1856) and the Yaroslavl Demidov juridical lyceum. He lived almost all his life in Yaroslavl. From 1856 to 1866 - assistant editor, from 1866 to 1871 - editor of the unofficial part of the Yaroslavl Provincial Gazette. He served for some time in the Yaroslavl provincial government. From 1872 until his death he served in the Yaroslavl zemstvo. In 1857 he began to publish in the newspaper "Yaroslavskie gubernskiye vedomosti". For several years there were published his poems ("Ivan Susanin", "Catania", etc.) and translations ("The Good Old Woman" by Beranger). Since 1864 Trefolev began to publish in the capital's publications: Den, Delo, Iskra, Entertainment, Narodny Voice, Otechestvennye zapiski (in the 1880s), Vestnik Evropy, Observer , "Russian thought" and others. Since 1872 he edited the "Bulletin of the Yaroslavl provincial zemstvo." In 1900 and in 1903-1905 he was the chairman of the Yaroslavl provincial scientific archival commission. Leonid Nikolaevich died on November 28 (December 11), 1905 in Yaroslavl. Buried at the Leontief cemetery in Yaroslavl. Local historian, In the "Bulletin of the Yaroslavl provincial zemstvo" Leonid Nikolayevich published a lot of local history materials. Historical articles and essays on local lore Trefolev were published in the "Russian Archive", "Historical Bulletin", and other magazines. Wanderers. An episode from the history of schism and amusement of the city of Mologa. Yaroslavl, 1866, A note about the first provincial magazine "Solitary Poshekhonets". Yaroslavl, 1882, Essay on the activities of the Yaroslavl provincial zemstvo. Public education. Yaroslavl, 1896, Journal publications: Interpreter, Trefolev translated poems by Slavic and Polish poets (most of all V. Syrokomli). The translation of the poem "Coachman" ("Postman") by V. Syrokomli entitled "When I served as a coachman at the post office" became a folk song. Poet, As a poet Trefolev was formed in the Nekrasov school. A number of his works are characterized by motives of love for the people, sympathy for their needs. In Trefolev's poems, the images of the capital's urban poor are outlined (poems "Song of the workers", "Gramota", "Jester", "Honest debtor"); but with special attention he depicts the life of a beggar, crushed by the poverty and labor of the peasantry ("Song of the Kamarinsky peasant", the poems "Oboz", "Batrak", "Village share-share", a small poem "On poor Makar and the bumps fall," etc. .). He showed a heavy share of women (poems "Red Hands", "The Mysterious Coachman", "Dunya"). However, Trefolev's poetry is not characterized by revolutionary determination. In some of his poems (especially in the 80s) there are notes of despondency, humility, admiration for the long-suffering of the peasantry. In 1877, Trefolev's book of poems "Slavic Echoes" was published in Yaroslavl. Leonid Nikolaevich in the 1880s wrote political satire on both liberals and conservatives, including epigrams on Katkov, Alexander III ("Our Tsar is a young musician", "Musician", "Alexander III and priest Ivan"), Pobedonostsev. The collection of Trefolev's poems, published in 1894, was greatly shortened by the censorship. Thanks to the simplicity of the language, the melodiousness, the song intonations of the songs to the poems of Trefolev, "Song of the Kamarinsky peasant", "Dubinushka", "When I served as a coachman at the post office" became folk songs. In the 1930s, Trefolev's poems were published, including those banned during his lifetime by the censor. Slavic Echoes (Issue I), Yaroslavl, 1877, Poems (1864-1893), Moscow, 1894, Collection of poems, OGIZ - GIHL, Moscow - Leningrad, 1931, Unpublished Poems and Autobiography, Literary Heritage, No. 3, Moscow, 1932, Selected Poems. Introductory article and edition by I. A. Martynov. Yaroslavl regional publishing house, 1937. Memory, In 1958, a monument to L.N. Trefolev was erected in Yaroslavl on the street renamed in his honor (formerly Varvarinskaya). The Yaroslavl Branch Library No. 6 and the Yaroslavl Regional Prize for achievements in the development of journalism are named after Trefolev. A memorial sign dedicated to him is installed in Lyubim. Trefolev Leonid Nikolaevich (09.09.1839-28.11. 1905), poet. Born in the town of Lyubim, now the Yaroslavl Region, into a poor landowner family. He graduated from the Yaroslavl gymnasium (1856). He was assistant editor, and in 1866-1871 - editor of "Yaroslavskie provincial vedomosti", where he published his first poem (1857). After 1872 he took up zemstvo activity, was fond of local history. In his work, Trefolev showed the situation of the peasantry (poems "Oboz", "Batrak", "Village share-share", "Poor Makar bumps fall"), the urban poor (poems "Gramotka", "Jester", "Honest Debtor") , a heavy share of a woman (poems "Red Hands", "The Mysterious Coachman", "Dunya").
Since the 70s, Trefolev began to appear with satirical poems in Iskra, Alarm Clock and Shards, denouncing both liberals and patriots ( M. N. Katkov , K.P. Pobedonostsev, P. P. Tsitovich) and even the tsar himself (poems "Our Tsar - a young musician", "Musician", "Alexander III and priest Ivan"). Like the poets of Iskra, Trefolev responded to the spite of the day, gravitated towards the genres of songs, verses, scenes, and wrote parody poems. The image of the citizen-writer is captured in the verses "In memory of Ivan Zakharovich Surikov", "In memory of the satirist M. E. Saltykov", "We are going to honor the singer" (about N. A. Nekrasov) and others. Trefolev often used the genre of a poetic novella, which included everyday scenes and a lively folk dialogue, and turned to folklore motives. Songs based on Trefolev's poems became widely known and popular among the people: "Dubinushka", "Song of the Kamarinsky peasant", "Coachman" ("When I served as a coachman at the post office ..."), etc Used materials from the site Great Encyclopedia of the Russian people. Outlived his fellow writers, the poets of the "Nekrasov school" Leonid Nikolaevich Trefolev (1839-1905). Trefolev far outlived his fellow writers, the poets of the “Nekrasov school,†he died at the end of 1905. He saw the Russian-Japanese war, Tsushima, the uprising on the battleship Potemkin, witnessed the execution on January 9 (“Bloody Sundayâ€) and died on the very eve of the barricade battles in Krasnaya Presnya during the December uprising. These events, however, were not reflected in his poetry. In his views, he remained a "sixties". But this was also a great dignity. He preserved democracy, carried it through the populist hobbies that captured part of Russian society, and lived out his day when decadence took Russian literature away from the people and the struggle for their rights. It was not for nothing that Russkoe Bogatstvo wrote that Trefolev was the keeper of “forgotten wordsâ€, the main of which is “the peopleâ€. This applied, if not all literature, then at least modern poetry; Trefolev is a "knight of truth". Russkoe Bogatstvo responded to the poet's collection of Poems, published in 1894 in Moscow: “A wonderful, invigorating impression is produced by the collection of Mr. Trefolev, - we read in the magazine, - especially now, in the midst of decadent, symbolist, impressionistic and other whining who truly opposed to disgust " 1 . 1 ... Russian wealth. 1894. No. 10. New books. P. 30. Trefolev was considered a forgotten writer. Only very knowledgeable people remembered and appreciated him. Unfortunately, Trefolev, after graduating from the Yaroslavl gymnasium, almost never left his native places (he was born in the town of Lyubim, now the Yaroslavl region, into a poor landowner family). For a number of years he worked at Yaroslavskie Gubernskiye Vedomosti, first as an assistant editor and then as an editor. Years were spent on zemstvo activity, local history. Only shortly before the closure of Iskra, he began to appear in it with satirical poems. But basically he had to collaborate in the typical for 80-90-ies entertainment magazines "Budilnik", first published in St. Petersburg, and then in Moscow, which were published after NA Stepanov by insignificant writers; was also published in "Oskolki" N. A. Leikina, magazine humorous, but distinguished by superficial criticism of the customs of officials, merchants. Trefolev charted a course for serious civic poetry. He risked, as a true "Nekrasovets" wrote epigrams, accusatory verses against M. N. Katkov, K. P. Pobedonostsev, P. P. Tsitovich and even the tsar himself (verse "Our Tsar is a young musician", "Musician", "Alexander III and the priest Ivan"). He did not always adhere to a firm line, there were vacillations, but the democratic direction remained the basis of his poetry. In the "Nekrasov school" Trefolev has his own special place: he is a songwriter. The singing tradition comes from him from Nekrasov, from the "Surikovites" (not without reason he wrote two poems in memory I. 3. Surikova), he took a lot from folk poetry. Especially glorified Trefolev songs composed on verses ("Dubinushka", "Song of the Kamarinsky peasant", "Coachman" ("When I served as a coachman at the post office"). In any case, the Yaroslavl newspaper "Severny Kray" wrote about its compatriot in connection with the fortieth anniversary of his literary activity and the celebration that took place: "Being the bearer of the poetic tradition of Nekrasov (...) Leonid Nikolaevich and in his work is one of our most sympathetic poets" 1 . Trefolev's technique of “rehash†of other people's motives, which is most characteristic of the “Nekrasov school,†acquired special features, compared with Kurochkin , Minaev... In his "rehash" there is not even a shadow of a cartoon or a parody. He "sang", deepening the content of the work. All three of the poems we have named, which have become songs, are "rehash". For example, that "Dubinushka", which we all know from childhood, beginning with the words: "I heard many songs in my native land ...", written by V. I. Bogdanov, "the poet of Iskra." It was published in 1865 in the magazine "Alarm", which was edited by N. A. Stepanov, who had just left V. S. Kurochkin to start his own business. This "Boo- 1 ... North edge. 1899. No. 360. Dealer â€was still in many ways similar to“ Iskra â€. Bogdanov's "Dubinushka" was remade and supplemented by the democratically minded poet AA Olkhin (1895), making it an extremely popular revolutionary song. Trefolev's "Dubinushka", which appeared in print in 1867, occupies an intermediate position between Bogdanov's and Olkhinsky's versions. Trefolevskaya "Dubinushka" is close to Nekrasov's motives about the Volga - mother river. Before us is a living picture of the life of a burlak: There is only one song from Samara to Rybinsk; It was not created for joy: There is also melancholy, a funeral tune, And powerless suffering anger. Trefolev's "Song of the Kamarinsky peasant" (1867) - an adaptation of an old folk song "Oh, you, my dear, (option: son of a bitch) Kamarinsky peasant, why, tell me, are you running through the streets?" The poet fills the poem with a specific plot content: Like on Varvarinskaya street Kasyan is sleeping, the Kamarinsky peasant. His beard is disheveled AND cheap 1 stained. We are talking about the peasant Kasyan, who went on a spree on his name day (Kasyan's day is celebrated once every four years, in a leap year, and falls on February 29). Despite the curious content, the poem was used in revolutionary propaganda - after all, it was not because of the good life that Kasyan went on a spree. And, finally, "The Coachman" (1868) is nothing more than a translation, which was indicated in the subtitle: "From Vladislav Syrokoml" with a dedication to the unknown to us AF Yarovitskaya. Trefolev loved this Polish poet for the nationality of his subjects, simple colloquial language, Trefolev generally liked Slavic poetry: he had translations and transcriptions from Ukrainian (Shevchenko) and Serbian poetry. He also translated French, English, German, Danish, Irish, Dutch poets. He liked Syrokomli's poem "The Postman" in the genre "Gaweda gminna" (ie local, rural "story"), The poem is based on the conversation of the coachman-postman with a random rider. An unknown composer set Trefolev's poem in a greatly abbreviated form to music. “The name of Trefolev,†writes the researcher, “should be named in the first row of names of the“ Nekrasovites â€poets, poets who have picked up Nekrasov's poetic voice." 2 ... Trefolev uses colloquial language, depicts the current events of folk life, 1 ... Cheap is cheap vodka. 2 ... Aizenshtok I. Poet-Democrat L. N. Trefolev. 1839-1905. Yaroslavl. 1954.S. 196. knows that the main virtue of a poet is civic courage, honesty, incorruptibility: My poor awkward verse Dressed up with bad rhymes. You are like a lamb, weak and quiet, But, thank God, he is not corrupt. ("To my verse", 1870). We shouldn't limit ourselves to praising the mundane descriptions of the Democrats. Such praises are always condescendingly sentimental and tense. Even Belinsky, Saltykov-Shchedrin pointed out that “secondary†writers are also important in the cognitive and general theoretical sense. Without them, as well as without genius, it is impossible to imagine the face of national literature, the internal laws of its history. Trefolev's great merit is that he depicts "... that unknown life of the masses, where deeds and events take place, which are almost always in clear contradiction with the testimony of history, written and flaunting names." 1 ... The life and activity of the masses is true history. F. Engels spoke about this: “The idea that high-profile political deeds are decisive in history is as ancient as historiography itself. This idea was the main reason that we have so little information about the development of peoples, which takes place in silence, in the background of these noisy performances and is the real driving force. " 2 The definition of "everyday people" is not suitable for such writers. They describe the millions of real accomplishments in the life of the people, with the help of which history moves. Take, for example, Trefolev's poem Poshekhonskiye Forests (1870). It develops the motive of Nekrasov's "Schoolboy". And a ray of light broke through the impassable Peshekhonye, ​​literacy came. All around there are wonderful endless forests inhabited by goblin and bears. The hand will not rise to cut the reserved pine or herringbone. The green noise was replaced by another noise. Let the wild jungle complain: The share fell harsh! - The fir-trees rustled dully: - Here stands a wooden hut, All brand new, brand new. Zemsky school is called, The whole flock of children This school trains
And she makes noise, so brave! 1 ... Saltykov-Shchedrin M.E. collection op. M., 1937.T. 8, p. 297. 2 ... K. Marx, F. Engels, Soch. 2nd ed. T. 20.P. 163. And prevents us from dozing in the wilderness, Seeing dreams, foggy dreams ... Are you good, traveler - decide for yourself - Are these schools damned? The notorious Makar, who drove calves somewhere and on whom all the bumps fall, was also honored to be praised. This is what Trefolev's poem in nine parts is called "On poor Makar and the bumps are falling" (1872), which is an expanded version of the Russian proverb. What Makar does not intend, everything does not go well with him: he wanted to get hold of, sell the mare, but the filly was stolen, went to rage on the Volga nurse, and returned with a copper hryvnia, went to ask for a delay of tax, and got off with beatings. And we are not talking about only Makar (as well as about Kasyan) - here is the whole muzhik's fate. Makar can do anything: He is meek and courageous, And he is a walker for everything, I even managed to do Petersburg-town. ("Makar", 1884). Everything that we see around, everything that is built, sown and reaped - all the Makars and Kasyans did: Hands are red, working hands! You have learned a lot of grief and anguish. You worked hard night and day ... (Red Hands, 1882). It is the working man that Trefolev calls the “pearl of creation†of nature. Over the Earth someday yes will have mercy Father-Sun, light sorcerer, And the Earth will boast before the Sun, Shelter of human workers. There will be no rumbling cannons on Earth The sound of swords will be silent forever And the people, through tears, after laughter, Forget the ancestors of the executioners. Peace-Love will be adorned with victory, And the kingdom of Labor will grow stronger ... It will be, it will be ... I know with my heart, But when? “I don’t know, gentlemen! ("Pearl of Creation", 1892). IN AND. Kuleshov. Russian democratic literature of the 50-60s of the XIX century. Textbook for students of higher educational institutions studying in the specialty "Russian language and literature". Moscow, Higher School, 1989, p. 83-87. Read on: Russian writers and poets (biographical reference). Compositions: Poems. M., 1894; Collected poems. M .; L., 1931; Unpublished poems and autobiography // Lit. inheritance. T. 3.M., 1932; Favorites. [Yaroslavl], 1951; Poems. L., 1958; [Works] // Trefolev LN, Surikov IZ, Drozhzhin SD Poems. M .; L., 1963. Poet and publicist. Genus. in 1843 in Lyubim, Yaroslavl province; graduated from the course at the Yaroslavl gymnasium and the Yaroslavl legal lyceum. He served for some time in the Yaroslavl provincial government, since 1872 he edited the "Bulletin of the Yaroslavl Zemstvo", where he posted a lot of information about local life in general and the zemstvo in particular. He wrote many correspondences and various messages to local and metropolitan publications; published a number of articles concerning the antiquity and the current state of the region in "Yarosl. Gub. Ved.", "Russian. Archive", "Istor. Vestnik" and others. As a poet, he appeared in 1864; his poems appeared in "Delo", "Fatherland. Notes", "West. Europe", "Observer", "Russian. Review", "Russian Mysl" and others. T.'s verse is very lively; by its nature, poetry is closest to Nekrasov. Of the humorous poems of T., his "Song of the Kamarinsky peasant" ("How Kasian is sleeping on Varvarinskaya Street, the Kamarinsky peasant"), to the tune of a famous folk song, is very famous. T. translated a lot from Slavic and Polish poets (most of all from Syrokoml). In 1894 he published his poems as a separate book. In addition, a separate edition came out: "A note on the first provincial magazine" Uedinenny Poshekhonets "(Yaroslavl, 1882);" Slavic echoes ", poems (Yaroslavl, 1877);" Wanderers. An episode from the history of schism and amusement of the city of Mologa "(Yaroslavl, 1866);" Sketch of the activities of the Yaroslavl provincial zemstvo. Public education "(issue I, Yaroslavl, 1896). (Brockhaus) Trefolev, Leonid Nikolaevich Poet. Genus. in the town of Lyubim, Yaroslavl province, in the family of a minor official. In 1856 he graduated from the Yaroslavl gymnasium. The following year, for the first time began to publish (on the pages of "Yaroslavl Provincial Gazette"). For several years, T. continued to collaborate in this edition, placing in it quite a few poems ("Ivan Susanin", "Catania", etc.) and translations, in particular from Beranger ("Good old woman"). Since 1864, T.'s poems began to appear in the capital's press - magazines and newspapers: Den, Delo, Iskra, Entertainment, Narodny Golos, Otechestvennye zapiski (1980s), Vestnik Europe "and others. T. lived almost all his life in Yaroslavl. From 1866 to 1871 T. edited the unofficial part of the "Yaroslavl Provincial Gazette". From 1872 until his death he served in the zemstvo, at the same time editing the "Bulletin of the Yaroslavl provincial zemstvo." T. studied the history of the Northern Territory a lot. His historical articles and essays on local history were published in the "Russian Archive", "Historical Bulletin" and other magazines. As a poet T. formed in the Nekrasov school. The best works of T. are characterized by motives of love for the people, ardent sympathy for their needs. T.'s poems warmly outline the images of the capital's urban poor (for example, "Song of the Workers"); but with special attention he depicts the life of a beggar, crushed by the poverty and labor of the peasantry ("Song of the Kamarinsky peasant", a short poem "On poor Makar and the bumps fall," etc.). Democratic poetry of T. is not characterized by a bright revolutionary purposefulness, which gave such strength to the work of Nekrasov. In some of his poems (especially in the 80s) there are notes of despondency, humility, populist admiration for the longsuffering of the peasantry. But it should be emphasized that even in the years of the gloomy reaction of the poet, faith in the mighty forces of the people and their future liberation did not leave. This is evidenced, in particular, by the poem "Makar", the tale "Two Moroz Morozovich". Unlike many other poets, T. did not lay down his arms in the era of the degeneration of populism. It was during the second half of his activity that he created a number of satyrs who denounced the modern system. In 1881 Shchedrin's Otechestvennye Zapiski published an excellent satire on liberalism (The Wild Veche). T. also owns evil epigrams to the "literary gendarme" Katkov, Alexander III, Pobedonostsev and other apologists of autocracy. These epigrams could not have appeared in print before the revolution. To the original poems of T. adjoin his numerous translations from P. Dupont, Heine, Herweg, Shevchenko, Syrokomli, and other poets, the folk and accusatory themes of which coincided with the tendencies of the civil poetry of T. Poetic skill of T. is largely determined by his interest in folk speech, the desire to reflect the song sizes and rhythms. Thanks to the simplicity of the language, melodiousness, and song intonations, many of T.'s poems became widely known as folk songs; these include "Dubinushka", "Kamarinskaya", "When I served as a coachman at the post office" (translation of "Coachman" by V. Syrokomli) and others. not an apprentice. " The literary heritage of T. has not yet been fully collected. The main collection of his poems is extremely incomplete and corrupted by the censorship. The 1931 edition includes poems that could not have been printed before the revolution; however, this edition is completely unsatisfactory both in terms of word processing and especially in relation to the accompanying apparatus. Bibliography: I. Slavic echoes [vol. I], Yaroslavl, 1877; Poems (1864-1893), M., 1894; Collection of poems, OGIZ - GIHL, M. - L., 1931; Unpublished poems and autobiography, "Literary heritage", No. 3, M., 1932, pp. 227-246; Selected Poems. Introductory article and edition by I. A. Martynov. Yaroslavl regional publishing house, 1937. II. "Russian wealth", 1894, X (review on collection of 1894); Mikheev V., L. H. Trefolev and his poetry, "Northern Territory", [Yaroslavl], 1905, No. 291 of December 8; Og- (urts) ov N., L. N. Trefolev (To the 10th anniversary of his death), "Voice" (Yaroslavl), 1915, No. 272 ​​of November 28; Dmitriev S. S., Collaboration of L. N. Trefolev in historical journals in the book: Yaroslavl Territory, collection of articles. II (Yaroslavl Natural History and Local Lore Society. Works of the Local History Section, vol. III, issue 2), Yaroslavl, 1929; Dostoevsky A.M., Memories, ed. Writers in Leningrad, 1930 [see. by index]. III. Ogurtsov N.G., Experience of local bibliography. Yaroslavl Territory, Yaroslavl, 1924 (see under the index. Incomplete bibliography of T.'s historical works see. For additions, see S. Dmitriev's article). V. Zhdanov. Trefolev (Leonid Nikolaevich) - poet and publicist. Born in 1843, in Lyubim, Yaroslavl province, finished the course at the Yaroslavl gymnasium and the Yaroslavl legal lyceum. He served for some time in the Yaroslavl provincial government, since 1872 he has edited the "Bulletin of the Yaroslavl Zemstvo", where he posted a lot of information about local life in general and zemstvo life in particular. He wrote many correspondences and various messages to local and metropolitan publications; published a number of articles concerning the antiquity and current state of the region in Yaroslavl Provincial Gazette, Russian Archive, Historical Bulletin, etc. As a poet, he appeared in 1864; his poems appeared in Delo, Otechestvennye Zapiski, Vestnik Evropy, Observer, Russkoye Obozreniye, Russkaya Mysl, etc. Trefolev's verse is very lively; by the nature of his poetry, he is closest to Nekrasov. Of Trefolev's humorous poems, his "Song about a Kamarinsky peasant" ("How Kasian is sleeping on Varvarinskaya Street, a Kamarinsky peasant"), to the tune of a famous folk song, is very famous. Trefolev translated a lot from Slavic and Polish poets (most of all from Syrokoml). In 1894 he published his poems as a separate book. In addition, a separate edition came out: "A note on the first provincial magazine" Uedinenny Poshekhonets "(Yaroslavl, 1882);" Slavic echoes ", poems (Yaroslavl, 1877);" Wanderers. An episode from the history of schism and amusement of the city of Mologa "(Yaroslavl, 1866);" Sketch of the activities of the Yaroslavl provincial zemstvo. Public education "(issue 1, Yaroslavl, 1896). Zhdanov V. Trefolev // Literary encyclopedia: In 11 volumes - [M.], 1929-1939. T. 11. - M .: Art. lit., 1939. - Stb. 383-385. TREFOLEV Leonid Nikolaevich - poet. Genus. in the town of Lyubim, Yaroslavl province, in the family of a minor official. In 1856 he graduated from the Yaroslavl gymnasium. The following year, for the first time began to publish (on the pages of "Yaroslavl Provincial Gazette"). For several years, T. continued to collaborate in this edition, placing in it quite a few poems ("Ivan Susanin", "Catania", etc.) and translations, in particular from Beranger ("Good old woman"). Since 1864, T.'s poems began to appear in the capital's press - magazines and newspapers: Den, Delo, Iskra, Entertainment, Narodny Golos, Otechestvennye zapiski (1980s), Vestnik Europe "and others. T. lived almost all his life in Yaroslavl. From 1866 to 1871 T. edited the unofficial part of the "Yaroslavl Provincial Gazette". From 1872 until his death he served in the zemstvo, at the same time editing the "Bulletin of the Yaroslavl provincial zemstvo." T. studied the history of the Northern Territory a lot. His historical articles and essays on local history were published in the "Russian Archive", "Historical Bulletin" and other magazines. As a poet T. formed in the Nekrasov school. The best works of T. are characterized by motives of love for the people, ardent sympathy for their needs. T.'s poems warmly outline the images of the capital's urban poor (for example, "Song of the Workers"); but with special attention he depicts the life of a beggar, crushed by the poverty and labor of the peasantry ("Song of the Kamarinsky peasant", a short poem "On poor Makar and the bumps fall," etc.). Democratic poetry of T. is not characterized by a bright revolutionary purposefulness, which gave such strength to the work of Nekrasov. In some of his poems (especially in the 80s) there are notes of despondency, humility, populist admiration for the longsuffering of the peasantry. But it should be emphasized that even in the years of the gloomy reaction of the poet, faith in the mighty forces of the people and their future liberation did not leave. This is evidenced, in particular, by the poem "Makar", the tale "Two Moroz Morozovich". Unlike many other poets, T. did not lay down his arms in the era of the degeneration of populism. It was during the second half of his activity that he created a number of satyrs who denounced the modern system. In 1881 Shchedrin's Otechestvennye Zapiski published an excellent satire on liberalism (The Wild Veche). T. also owns evil epigrams to the "literary gendarme" Katkov, Alexander III, Pobedonostsev and other apologists of autocracy. These epigrams could not have appeared in print before the revolution. His numerous translations from P. Dupont, Heine, Herweg, Shevchenko, Syrokoml 'and other poets adjoin the original poems of T. Poetic skill of T. is largely determined by his interest in folk speech, the desire to reflect the song sizes and rhythms. Thanks to the simplicity of the language, melodiousness, and song intonations, many of T.'s poems became widely known as folk songs; these include "Dubinushka", "Kamarinskaya", "When I served as a coachman at the post office" (translation of "Coachman" by V. Syrokomli) and others. not an apprentice. " The literary heritage of T. has not yet been fully collected. The main collection of his poems is extremely incomplete and corrupted by the censorship. The 1931 edition includes poems that could not have been published before the revolution; however, this edition is completely unsatisfactory both in terms of word processing and especially in relation to the accompanying apparatus. Bibliography: I. Slavic echoes [vol. I], Yaroslavl, 1877; Poems (1864–1893), M., 1894; Collection of poems, OGIZ - GIHL, M. - L., 1931; Unpublished poems and autobiography, "Literary heritage", No. 3, Moscow, 1932, pp. 227–246; Selected Poems. Introductory article and edition by I. A. Martynov. Yaroslavl regional publishing house, 1937. II. "Russian wealth", 1894, X (review on collection of 1894); Mikheev V., L. N. Trefolev and his poetry, "Northern Territory", [Yaroslavl], 1905, No. 291 of December 8; Og (urts) ov N., L. N. Trefolev (To the 10th anniversary of his death), "Voice" (Yaroslavl), 1915, No. 272 ​​of November 28; Dmitriev S. S., Collaboration of L. N. Trefolev in historical journals in the book: Yaroslavl Territory, collection of articles. II (Yaroslavl Natural History and Local Lore Society. Works of the Local History Section, vol. III, issue 2), Yaroslavl, 1929; Dostoevsky A.M., Memories, ed. Writers in Leningrad, 1930 [see. by index]. III. Ogurtsov N.G., Experience of local bibliography. Yaroslavl Territory, Yaroslavl, 1924 (see under the index. Incomplete bibliography of T.'s historical works see. For additions, see S. Dmitriev's article). Locality: We love; Yaroslavl. Born September 9 (September 21) 1839 in the town of Lyubim in the Yaroslavl province. His father, Nikolai Dmitrievich, served in the district court and was a well-known bibliophile. Thanks to the influence of his father, L. N. Trefolev fell in love with reading from an early age. The first teacher of the future poet was his mother Klavdia Petrovna. Her diligent student, from the age of six, imprisoned for the alphabet, read everything that was in the home library. Especially little Leonid liked Nikolai Gogol's Evenings on a Farm near Dikanka. Having barely learned to read, he spent all his pocket money on his own library, which also included fairy tales in popular prints. LN Trefolev began to write poetry at the age of twelve and placed them in his weekly journal: "My Fatherland Lyubimyi Zapiski". The only subscriber to this "periodical", "published" in notebooks, was Leonid's mother, who paid him for each issue from a dime to a quarter, "according to the dignity of the magazine." For recitation, he received another fee - from his father. Nikolai Dmitrievich was very fond of the theater, where, when traveling to Yaroslavl, he took Leonid with him. It was a great joy for the boy to travel with his father to the estates of wealthy and educated landowners who had good libraries and were allowed to use them as much as they wanted. Thanks to these trips, the boy was familiar with the folk life from early childhood. Leonid Nikolayevich got acquainted with urban life in Yaroslavl, where, having entered the gymnasium, he settled with relatives. Mathematical sciences were not among his favorite disciplines: Leonid Trefolev was passionately fond of Russian literature, history and natural sciences. In 1856 L. N. Trefolev graduated from the gymnasium course. Two years later, he entered the service in the Yaroslavl provincial government as an assistant editor of "Yaroslavskie gubernskiye vedomosti", in which he began to publish, since 1857, his poems, both original and translated (from Beranger and Heine). He worked as a teacher in the Yaroslavl Sunday school, for many years he was the secretary of the Society for the Aid to Disabled Students. In 1864 he went to serve in the Yaroslavl provincial building and road commission as the governor of the chancellery and secretary of its general presence. There, among the engineers and technicians, there were then several educated people of Polish origin. This accidental circumstance greatly contributed to him in the study of Polish and Serbian literature and in the translations of Polish poets, especially Vladislav Syrokomli (Ludovik Kondratovich). After the commission was reorganized, LN Trefolev went to serve in the provincial government, becoming the editor of the unofficial part of the Yaroslavl Provincial Gazette. Here he posted his articles, mainly on ethnography and history. LN Trefolev took an active part in editing the "Proceedings of the Yaroslavl Provincial Statistical Committee", in which he published an extensive monograph: "Wanderers. An Episode from the History of the Schism ", corresponded with prominent figures in the press: N. A. Nekrasov, A. P. Chekhov and others. In the early 1860s, he began to publish his poems in the "Illustrated newspaper" (published under the editorship of V.R. ), "Entertainment" (Miller). His "Song of the Kamarinsky peasant" and "Dubinushka" became popular. This was followed by the "transition" to large magazines. Lyrics of L. N. Trefolev were published: "Notes of the Fatherland" (edited by Nekrasov, and then by Saltykov), "Women's Bulletin", "Family and School", "Literary Library", "Delo", "Russian Wealth", "Bulletin of Europe "," Observer "," Russian thought ". Of the many pseudonyms of Leonid Nikolaevich, the most famous is "Solitary Poshekhonets", taken in memory of the first provincial edition published under the same name in Yaroslavl (in 1786). LN Trefolev knew French, a little German, studied Polish and Serbian languages. The choice of poets and works for translation testified to the breadth of the poet's literary interests - from Yaroslavl, his well-read and knowledge of world literature. He translated the Ukrainian T. Shevchenko, the Poles V. Syrokomlya, A. Odynets, Y. Slovatsky, V. Gomulitsky, the Serbs P. Preradovich, Y. Yakshich, I. Mazhuranich; the French Barbier, Beranger, Dupont, the Germans Heine, the Brothers Grimm, the Dane Andersen and others. LN Trefolev's translations are no less interesting than his own works. In 1871, forced to leave the civil service, Leonid Nikolaevich turned to zemstvo activity. Since 1872, for more than a quarter of a century, he edited the "Bulletin of the Yaroslavl Zemstvo." LN Trefolev was repeatedly elected a vowel of the Poshekhonsky district zemstvo assembly, was in charge of the printing house of the provincial zemstvo, actively participated in the preparation of the celebration of the 150th anniversary of the theater. F.G. Volkova. In 1887 he took part in the VII Archaeological Congress in Yaroslavl. Founding member of YAGUAC (in 1903-1905 acted as chairman), member of YAGSK and some other scientific societies. The collection of poems by Leonid Trefolev was published in Moscow in 1894. Leonid Nikolayevich also wrote quite a lot of prose, but mostly under pseudonyms. LN Trefolev was a great stay-at-home, he rarely left his native Yaroslavl region to go to Moscow. He was abroad (in Germany and France) only once in 1876, and eight years later he traveled across the Crimea and the Caucasus. He died on November 28 (December 11), 1905, before he lived to see major revolutionary upheavals. Buried at the Leontief cemetery in Yaroslavl. In 1958, a monument to L.N. Trefolev was erected in Yaroslavl on the street renamed in his honor (formerly Varvarinskaya), by the sculptor A.N. Chernitsky. The Yaroslavl Branch Library No. 6 and the Yaroslavl Regional Prize for achievements in the development of journalism are named after Trefolev. In the small homeland of L. N. Trefolev, in the center of the city of Lyubim, Yaroslavl region, a memorial stele dedicated to the poet was erected. One of the central Lyubovska streets is named in honor of Leonid Nikolaevich Trefolev.
https://nicolaitroitsky.livejournal.com/8045268.html///Here comes the postal troika///Russian folk song. The possible author of the poems is Leonid Nikolaevich Trefolev, at least the philologist Chelyshev Boris Dmitrievich thought so.///The song belongs to the so-called coachmen's songs and dates back to 1901. Apparently, the author was inspired to create it by previous songs about troikas and coachmen - there were a lot of them in Russian song culture, and they started with a romance on the verses of Fyodor Glinka with music by Alexei Verstovsky "Here the daring troika rushes."///The influence of other songs about “troikas” is also felt, including the last verse echoing the “Troika” by N. Anordist (Nikolai Radostin) “The bell rings, and the troika rushes ...”, 1839///The text of the song and some musical elements are varied by the performers in different ways - this always happens when the song becomes folk and enters the very structure of folk song culture.
https://biography-wikireading-ru.translate.goog/283756?_x_tr_sl=ru&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc///About Russian "troikas"///Who composed the song "Here the postal troika rushes"? Or "Steppe and steppe all around"? Or the song “When I served as a coachman at the post office”?///If we look into the catalog of the All-Union Radio Record Library, we will see marks on the cards: “folk song”. Or "words of the people."///Indeed, these are all folk songs. They are sung everywhere and for a long time. People love and remember them. And it passes on to new, young generations as his spiritual heritage. But at the same time, the concept of “folk song” does not mean at all that the song was composed by the whole people, that it had no authors - the one who invented the words and the one who put them to music. Were.///Only their names either remained unknown to anyone or were forgotten. And the song went./// And it became popular. People shortened some words, corrected others, replaced them, adding their own, sometimes rearranging couplets. In other songs, very little remains of the original text. And yet the authors of all these songs were. For example…///But first I will say what led me to reasoning about the Russian folk song.///It began with the magazine "Krugozor". I offered to tell on its pages about Russian troikas in poetry and music, attaching flexible records with songs. And he has already begun to design aloud the future beginning - from Gogol's "Dead Souls" - "Oh, troika! trio bird, who invented you! Yes, I got carried away. And how not to get carried away by Gogol!///“The coachman is not in German boots: a beard and mittens and the devil knows what he sits on; but he got up, and swung, and dragged on a song - the horses whirlwind, the spokes in the wheels shifted in one smooth circle, only the road trembled and the stopped pedestrian screamed in fright! And so she rushed, rushed! .. Isn’t it so, Rus, that you are rushing along, a brisk, unbeaten troika? .. ”///These lines are undoubtedly the greatest image of the Russian troika, an image that has become a symbol. This is the Russian troika. And this is already Russia, past which “everything that is on the earth flies, and, looking askance, step aside and give it way to other peoples and states.”///And suddenly it became clear that this super-genius Gogol's creation is associated with Russian folk poetry - with songs about troikas and coachmen singing daring and mournful songs.///And one more thing became clear that Pushkin introduced this theme into the great Russian poetry: On the winter road, boring Troika greyhound runs Single bell Tiring noise. Something is heard native In the coachman's long songs: That revelry is remote, That heartache...///Pushkin's "Winter Road" was first published in 1826 in the Moscow Bulletin magazine. In 1831, notes were published with a picture depicting a Russian troika - “Winter Road, music by A. Alyabyev.” And four years later, this song became so famous that Pushkin's text is already included in Ivan Guryanov's "Song Book" - a sure sign that in the early 1830s its motive was already on everyone's lips.///Through the wavy mists The moon is creeping To sad glades She pours a sad light. Even more famous is the Troika, which has flown all over Russia, the creation of the Decembrist poet Fyodor Glinka: Here comes the daring trio To Kazan by an expensive pillar, And a bell, a gift from Valdai, Buzzing sadly under the arc. A dashing coachman - he got up at midnight - He was saddened in silence: And he sang about clear eyes, About the eyes of the maiden of the soul. "You eyes, blue eyes, You crushed the young man: Why, O people, evil people! Have you broken their hearts? Now I'm a bitter orphan!" And suddenly he waved at all three, And the kid was amused by the trio - And filled with nightingale. Initially, this text was part of another poem by Fyodor Glinka, published in 1825 in the newspaper "Northern Bee".///Seven years later, it was printed again - in the "Russian Almanac for 1832-1833", with the title "Troika" and with a note from the editor: “This song, which has become popular, in its original form was part of F. N. Glinka’s poem “A Russian Dream in a Foreign Land”. It was not printed especially, and therefore it was sung with various changes. Here it is placed at the request of the writer himself, just as it came out from under his elegant pen.///But who composed the music to the text of Fyodor Glinka?///Do not rush your interlocutor, even if he is a musician. Let me see. Most will answer you: "folk song." Others will add - "it is not called" Troika ", but" Bell "". And the rare ones will name the composer Alexei Nikolaevich Verstovsky, the most famous author of the operas “Pan Tvardovsky”, “Askold’s Grave”, “Thunderbolt” at that time ... He wrote a song to the words of Glinka in 1828. For three years, she became popular.///Not only Verstovsky set the words of Fyodor Glinka to music. There is music for these words by Ivan Rupin, written in 1831. And Alexandre Dubuc. There is one more song based on these verses by F. N. Glinka. On the notes it says: “"Bell". Music by Count M. Yu. Vielgorsky, lyrics by A. Pushkin. Obviously, the name of the Decembrist poet Fyodor Glinka did not suit the censorship or the publisher.///In 1834, in the St. Petersburg almanac "Novoselye", as if in response to Fyodor Glinka's "Troika", another famous "Troika" appeared, which was even entitled "Another Three". This poem begins with the words: The troika rushes, the troika jumps, Dust curls from under the hooves; The bell cries loudly And laughs and squeals. Loud on the way There is a bright ringing; Then in the distance he will blurt out cleanly, He will moan deafly ... This was written by a friend of Pushkin, a very famous poet at that time, Pyotr Andreevich Vyazemsky.///Since that time, Troikas began to appear one after another. And about who wrote the music of this song, we will say a little later.///In 1837, a third-rate Petersburg poet Konstantin Bakhturin, who later had a relationship with the emergence of the libretto of Mikhail Ivanovich Glinka's future opera Ruslan and Lyudmila, published a collection of poems in which he published The Coachman's Song: Al can't be seen again Former red share? I'm not my own soul I dry as if in captivity. And I've been away: With a trio I will rush and fill With a lively song. Not with a whip Let's drive Only with a mitten And by the stumps over the hills Horses rush like birds ... It is further said how the young man sang and walked and took a walk - day and night he suffers for his “cute”.///This “Song” was set to music in 1840 by the glorious romance writer Alexander Lvovich Gurilev. There is another one for these words - which was composed by Nikolai Alekseevich Titov.///In 1839 in Moscow, in the printing house of August Semyon (and not Semyon), the Almanac for 1840 by N. Anordist was published.///This almanac contains four poems under the general title "Threes redone, four." They vary the lines of Pushkin, Fyodor Glinka and Vyazemsky - here are the trio of “greyhound horses”, and the coachman, and the song about the beloved, and the paraphrases “eyes of the girl-soul”, and “Why, why, oh evil people, you disturbed our peace "...///The first of these triplets became a common song that lives on to this day.///Anordist's poem begins like this: The bell rings, and the troika rushes .../// But the people rejected this initial stanza, and the song begins with the second: Here is a big village on the way, - My coachman looked there; He began to beat zealously, And slowly he sang: "Your beauty seduced me, - Now I'm sick of the whole world; Why, why bewitched If I am not dear to your soul!///In this song, the coachman anticipates his imminent death, says that horses will be sad about him, dreams that a “young girl” would come to his “grave”: They say he's gone The poor girl in anguish, She faded prematurely Sad for the poor coachman.///It is not clear from the text why the girl, who did not love the coachman, fades untimely in longing for him. And it is clear that in the folk song version this stanza is also discarded.///The literary source of the song was unknown for a long time. It was established already in our time by a remarkable connoisseur of Russian poetry and folk poetic creativity, Ivan Nikanorovich Rozanov. But he could not unravel the secret of the Anordist surname. In his opinion, the entire almanac - it contains more than three hundred pages - contains the works of one author. Apparently, it is. And most likely, N. Anordist is a pseudonym. However, the compiler of the magnificent bibliographic work "Russian Poetry in Russian Music" G. K. Ivanov indicates that the name of the Anordist was Ivan. This is taken from the notes. But how N. Anordist became Ivan has not yet been established. Among the most popular "Triples" is the one that Nadezhda Andreevna Obukhova performed in her concerts: Dust is spinning, curling On the road through the fields. Whirlwind rushes and rushes Three greyhound horses///In the following lines, the "riotous" coachman sings a Russian song and "fills himself with a nightingale" under the "bell ringing in the flood". And although his song is remote, loud, whistling, silent in the distance, it gives rise to an anxious and dreary feeling in the soul of the poet. The words of this song were composed by the now unknown, but in the last century very prolific poet Vasily Chuevsky. As for the music, it was written by P. P. Bulakhov. The song “Here is a big village on the way” to the words of Anordist was also written by P. P. Bulakhov. And a song to the words of Vyazemsky - "The troika rushes, the troika jumps" - also P. P. Bulakhov.///Allow me! How to understand? Is P. P. Bulakhov the author of three Troikas?///Not! Here we must remember that there were three Bulakhovs in the history of Russian music. And all three names begin with the letter P. The elder Bulakhov, Pyotr Alexandrovich, a famous Moscow singer in the 1920s and 1930s, the owner of a tenor of unusual softness and beauty, was not only an opera singer, but also a composer of music. He had two sons - Peter Petrovich and Pavel Petrovich. Pavel also had a tenor and in the 1850s-1860s he was famous as a great opera singer and at the same time he also composed romances and songs. But the most outstanding of them was the eldest son of Pyotr Alexandrovich - Pyotr Petrovich, who possessed not only a tenor, but also a remarkable talent as a composer. He, more than a brother and than a father, was destined to glorify this talented family.///Now is the time to say that Pavel Bulakhov wrote the Troika to the words of P. A. Vyazemsky “The Troika is racing, the Troika is galloping”. And “Troika” to the words of Chuevsky and “There is a big village on the way” with beautiful music to the words of Anordist are songs by Pyotr Bulakhov. It so happened that these two of his songs became the most popular. He, Pyotr Petrovich Bulakhov, owns the paraphrased folk songs “In the field there was a birch tree” and “Snows are not white”, which Selifan, Chichikov’s coachman, sings in “Dead Souls”. However, there is an assumption that the last two - paraphrases of folk songs - belong to his father, Peter Bulakhov Sr.///There are notes in front of me: “Gypsy song“ Here is a big village on the way. Arranged by P. Bulakhov. Moscow. In A. Miller's music store. Censorship permission - October 26, 1845.///Only five years have passed since the publication of N. Anordist's almanac, and the song is already widely known in the "arrangement" of P. Bulakhov. Obviously "gypsy" here does not mean a genre, but connects the song with a performer from a gypsy choir. The designation "gypsy song composed by P. Bulakhov" would deprive it of its specific qualities, it would be perceived as an imitation of a gypsy song. I think that in this case arranging is equal to composing.///The mysterious N. Anordist began his poem with the line "The bell rings, and the troika rushes." Another obscure poet, Grigory Malyshev, began his own in almost the same way: “The bell rings, and the troika rushes.” The same Ivan Nikanorovich Rozanov was the first to draw attention to the similarity of these principles.///The anordist wrote a sad poem. Malyshev writes about a moment of joy. For fifteen years the young warrior has not been at home, and suddenly he enters, unrecognized, into the circle of his relatives, and reveals himself. The poem is called "Date in fifteen years."///Malyshev's book of poems appeared in 1848. He was not a professional poet. The son of a soldier, he himself served in the army, and then served as regent at the St. Petersburg Court Singing Chapel.///The book of poems is prefaced with a preface, from which we learn that for seven years Malyshev was separated from his relatives and given to a “state institution”, and when he was seventeen years old, he participated in the Turkish war, and later in the Polish campaign. Obviously, the fate of Malyshev himself is told in the poem. If he was cut off from his family at the age of seven, studied for ten years, and then participated in two campaigns, then about fifteen years had passed, and his relatives might not really have recognized him. It can be assumed that Appointment Fifteen Years Later was written under the vivid impression of a meeting back in the 1830s. And that it was not Malyshev from Anordist, but Anordist from Malyshev who borrowed the construction of the first line, especially since Anordist himself assured readers that his “Troikas” represent a “reworking” of well-known ones, in other words, they contain echoes of other people's compositions.///Starting with the line "The bell rings, and the troika rushes" Malyshev again finished the poem with a troika: The bell rings. Coachman rushes There is already one on the way back; And again the song is heard In the distance, you can barely hear: ding, ding, ding. Who wrote the music for these words?///I think that since Malyshev served as regent in the Court Chapel, he probably composed the music himself. The song is great. Nikolai Alekseevich Nekrasov “turned” this topic in a profound and completely new way in one of his early poems - 1846. In his poem "Troika" it is not the coachman who drives the troika who sings about his beloved - here the poet talks about the fate of the girl, whose heart began to beat at the sight of the troika carrying away the handsome cornet: What are you greedily looking at the road Away from cheerful girlfriends? To know, the heart beat alarm - Your whole face lit up all of a sudden. Nekrasov's poem is a prediction of her future tragic hopeless fate. Do not look longingly at the road And do not rush after the three, And sad anxiety in my heart Shut it down forever!///Both Gogol's and this - Nekrasov's - "troika" are connected with the song tradition. Its inner drama, depth of content, civic pathos inspired six composers - Olga Bernard, who composed the song "Rural Beauty" in 1852, N. F. Vitelaro, who set Nekrasov's poem to music (published in 1856), A. I. Dyubyuk ( in 1857), N. M. Leontiev (in 1857), S. A. Zybin (in 1858). The song by N. Leontiev was sung by N. A. Obukhova. On the sheet music of this composition is written: “N. Leontiev. Gypsy song "Troika". Re-arranged by A. Dubuc. 1857". Apparently, in the 1850s, this "Troika" was sung by the gypsies from the choir of Ilya Sokolov who created its success. As for the widespread song to these words, which was performed by M.P. Maksakova, it was obviously written by A.I. Dyubyuk.///The cycle of the best songs about troikas should include the famous “The bell rattles monotonously”, the words of which were composed by I. Makarov. Until very recently, we knew absolutely nothing about this poet, except for his last name. Yes, and that was installed only in the 1930s.///But recently the Permian philologist Alexander Kuzmich Sharts discovered the most interesting materials in the Perm oblarchive and found out that Makarov was a serf of the landowner Vsevolozhsky, that he was born in 1821 in the family of a coachman who served at the post office. As a child, the future poet constantly traveled with his father and knew well the coachman's life and coachman's songs.///Makarov's father died on the road - he froze.///Hearing that the young Makarov was writing poetry, the landowner sent him to the soldiers. But he was also punished as a soldier. For an unauthorized absence home, they assigned him as a coachman in a convoy company that accompanied the exiles on their way to Siberia. In 1852, at the age of 31, Makarov died. Just like the father. Freeze on the road. Manuscripts were found in his bag - these were his poems.///The information I cited about Makarov was made public by the literary critic Svetlana Magidson, who announced it on the radio. Makarov's poem "The bell rattles monotonously" inspired the wonderful melodist Alexander Lvovich Gurilev, whose name we have already mentioned. In 1853-853 he wrote a song that is still included in the repertoire of many singers and choirs, performed both with the guitar and accompanied by an orchestra of folk instruments. And although this song does not contain the word "troika" - this is a song about a troika, about a coachman and his song. In addition to Gurilev's "Bell" to these words of Makarov, there is another song that was composed by an author unknown to us. It is constantly performed on the radio and in concerts and is loved for its simplicity and noble motive.///As time went. The traditional genre of "coachman's romance" - the complaints of a coachman in love - became more complicated, taking on an increasingly tragic character. It is worth comparing with the "Troika" by Fyodor Glinka the poem of the peasant poet Ivan Zakharovich Surikov.///Steppe and steppe all around, The path is far In that steppe deaf The coachman died...If we recall the fate of Makarov, it becomes clear that Surikov's poetic story is taken from life itself. The song on Surikov's words was written by S. P. Sadovsky. Interestingly, this composer has no other published songs: “Steppe and Steppe all around” is his only registered work. This is already the end of the 1860s. Following Surikov, the Yaroslavl poet-democrat Leonid Nikolaevich Trefoliov told about the tragedy of the coachman in a poem called "Coachman". And it is a translation from the Polish poet Vladislav Syrokomlya (a pseudonym under which the poet Ludwik Kondratovich printed poetry). When I worked as a coachman at the post office, I was young, I had strength, And firmly, brothers, in one village I loved the girl at that time. Once, in a snowstorm, the boss sent a coachman with an urgent package. He saw a frozen man on the road: And the snow really covered that find. The blizzard dances over the corpse. I dug up a snowdrift and rooted to the place, Frost came under the sheepskin coat. Under the snow, brothers, she lay ... Brown eyes closed. Pour, pour more wine There is no more urine to tell! In the same year, Trefolev wrote down another poem, which is deliberately opposed to Fyodor Glinka's "Troika", at least by the proximity of the first line: Here comes the postal troika On the Mother Volga in winter. The coachman, sadly singing, Shakes his wild head.///From a conversation with a friendly rider, it turns out that the "rich" and the headman intervened in the life of the coachman: Ah, dear sir, good sir, It's almost a year since I love Yes, wicked old man-Tatar He scolds me, but I endure. Ah, dear Bari, Christmas time is coming soon, And she won't be mine anymore The rich chose, yes hateful, She will not see happy days!...///Who wrote the music to the words of these Trefol poems has not yet been established.///But, as we see, the texts of all these songs were composed by poets - well-known, little-known and simply unknown. The authorship of Anordist, Malyshev, and Makarov was established by the late I. N. Rozanov; But from the fact that the name of the poet is established, the song does not become less popular. On the other hand, its “age”, its “evolution”, is being clarified, because in folk song usage, the poetic text, as already mentioned, sometimes undergoes very strong changes. So from the "Troika" of Vyazemsky, out of forty lines, only six remained, the rest of the text is a composition by performers unknown to us. This song is often heard on the radio and in concerts - daring, dashing, happy: Rides, rides, rides to her, He goes to his beloved. Whoa!., and the trio suddenly sank At a familiar porch. The girl flew into the sleigh And kisses the young man ... ///All this is not in Vyazemsky's poem. Fyodor Glinka has the first lines: Here comes the daring trio In Kazan , an expensive pillar. Kazan , important for the poet due to some personal associations , soon disappeared. The people began to sing: Along the pole path.///And it is clear: Kazan is too specific, and it is not clear why the troika rushes to Kazan, and not to some other city. By the way, the folk version is always better than the literary version and is more convenient for singing. Ivan Nikanorovich Rozanov, whose name I remember more than once, called the people a great critic and editor. This is a great formula. Among Russian folk songs - elegiac and daring - songs about troikas have a special place. These are songs about songs. They are sung by coachmen who tell about their bitter fate or reveal the riches of their soul. The people themselves sing in their face. These are folk songs about the people.///An endless topic! .. Pushkin, Gogol, Nekrasov, Blok are involved in it ... Dedicating one of his greatest poems to Russia, Blok remembered the song of the coachman, and the "road distance", and the troika: Again, as in the golden years, Three worn out harnesses fray, And painted knitting needles In loose ruts...///“Give me a trio of horses fast as a whirlwind, sit down, my driver, ring, my bell, fly up, horses, and carry me from this world,” Blok quotes Gogol. And he writes that in the form of a troika, like a dazzling vision in a brief creative dream, future Russia flashed to Gogol: “Oh, what a sparkling, wonderful, unfamiliar distance to the earth! .. Russia! where are you going? Give an answer. Doesn't give an answer. A bell is filled with a wonderful ringing; the air torn to pieces rumbles and becomes the wind ..."///When we remember the songs in which irresistible troikas rush, we hear the memory of voices - N. Obukhova, M. Maksakova, V. Levko, I. Arkhipova, L. Ruslanova, L. Zykina, we hear I. Kozlovsky, S. Lemeshev, V Noreyka, I. Skobtsov, B. Gmyry, N. Kondratyuk. And the harmonious sound of the choirs…Many people sing these inspired songs.///There are more than a hundred of them - Russian triplets: “A whirlwind rushes up the mountain”, and “Harness, driver, rather a troika”, and “Troika, troika, how much oblivion you give”, and “Guy and troika, fluffy snow”, and “On the last I’ll hire a top five horses”, and the famous “Coachman, don’t drive horses” ... Even from the first lines it is easy to understand that these songs are no longer about coachmen, but about riders. They arose at the end of the past - the beginning of this century, for the most part these are pop songs, which have little in common with those truly folk songs that were created in the 19th century and are still being sung.///It's amazing!.. In our age of cars, flying vehicles moving faster than sound, space rockets, when the troika no longer surprises anyone with speed, songs about the troika still amaze. And they rejoice. And make you think. And sometimes be sad…Well! This is a property of true poetry - it is always modern, because in the songs about the troika the Russian national character poured out, the soul of the people appeared, all the heat, all the scatter of its feelings. And although there is no longer that life, no troikas, no coachmen, no passing cornets, the song lives and sounds over the world and, as Gogol says, winds around the heart.///This text is an introductory piece.
https://nicolaitroitsky.livejournal.com/8045268.html///Here comes the postal troika///Russian folk song. The possible author of the poems is Leonid Nikolaevich Trefolev, at least the philologist Chelyshev Boris Dmitrievich thought so.///The song belongs to the so-called coachmen's songs and dates back to 1901. Apparently, the author was inspired to create it by previous songs about troikas and coachmen - there were a lot of them in Russian song culture, and they started with a romance on the verses of Fyodor Glinka with music by Alexei Verstovsky "Here the daring troika rushes."///The influence of other songs about “troikas” is also felt, including the last verse echoing the “Troika” by N. Anordist (Nikolai Radostin) “The bell rings, and the troika rushes ...”, 1839///The text of the song and some musical elements are varied by the performers in different ways - this always happens when the song becomes folk and enters the very structure of folk song culture.
https://biography-wikireading-ru.translate.goog/283756?_x_tr_sl=ru&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc///About Russian "troikas"///Who composed the song "Here the postal troika rushes"? Or "Steppe and steppe all around"? Or the song “When I served as a coachman at the post office”?///If we look into the catalog of the All-Union Radio Record Library, we will see marks on the cards: “folk song”. Or "words of the people."///Indeed, these are all folk songs. They are sung everywhere and for a long time. People love and remember them. And it passes on to new, young generations as his spiritual heritage. But at the same time, the concept of “folk song” does not mean at all that the song was composed by the whole people, that it had no authors - the one who invented the words and the one who put them to music. Were.///Only their names either remained unknown to anyone or were forgotten. And the song went./// And it became popular. People shortened some words, corrected others, replaced them, adding their own, sometimes rearranging couplets. In other songs, very little remains of the original text. And yet the authors of all these songs were. For example…///But first I will say what led me to reasoning about the Russian folk song.///It began with the magazine "Krugozor". I offered to tell on its pages about Russian troikas in poetry and music, attaching flexible records with songs. And he has already begun to design aloud the future beginning - from Gogol's "Dead Souls" - "Oh, troika! trio bird, who invented you! Yes, I got carried away. And how not to get carried away by Gogol!///“The coachman is not in German boots: a beard and mittens and the devil knows what he sits on; but he got up, and swung, and dragged on a song - the horses whirlwind, the spokes in the wheels shifted in one smooth circle, only the road trembled and the stopped pedestrian screamed in fright! And so she rushed, rushed! .. Isn’t it so, Rus, that you are rushing along, a brisk, unbeaten troika? .. ”///These lines are undoubtedly the greatest image of the Russian troika, an image that has become a symbol. This is the Russian troika. And this is already Russia, past which “everything that is on the earth flies, and, looking askance, step aside and give it way to other peoples and states.”///And suddenly it became clear that this super-genius Gogol's creation is associated with Russian folk poetry - with songs about troikas and coachmen singing daring and mournful songs.///And one more thing became clear that Pushkin introduced this theme into the great Russian poetry: On the winter road, boring Troika greyhound runs Single bell Tiring noise. Something is heard native In the coachman's long songs: That revelry is remote, That heartache...///Pushkin's "Winter Road" was first published in 1826 in the Moscow Bulletin magazine. In 1831, notes were published with a picture depicting a Russian troika - “Winter Road, music by A. Alyabyev.” And four years later, this song became so famous that Pushkin's text is already included in Ivan Guryanov's "Song Book" - a sure sign that in the early 1830s its motive was already on everyone's lips.///Through the wavy mists The moon is creeping To sad glades She pours a sad light. Even more famous is the Troika, which has flown all over Russia, the creation of the Decembrist poet Fyodor Glinka: Here comes the daring trio To Kazan by an expensive pillar, And a bell, a gift from Valdai, Buzzing sadly under the arc. A dashing coachman - he got up at midnight - He was saddened in silence: And he sang about clear eyes, About the eyes of the maiden of the soul. "You eyes, blue eyes, You crushed the young man: Why, O people, evil people! Have you broken their hearts? Now I'm a bitter orphan!" And suddenly he waved at all three, And the kid was amused by the trio - And filled with nightingale. Initially, this text was part of another poem by Fyodor Glinka, published in 1825 in the newspaper "Northern Bee".///Seven years later, it was printed again - in the "Russian Almanac for 1832-1833", with the title "Troika" and with a note from the editor: “This song, which has become popular, in its original form was part of F. N. Glinka’s poem “A Russian Dream in a Foreign Land”. It was not printed especially, and therefore it was sung with various changes. Here it is placed at the request of the writer himself, just as it came out from under his elegant pen.///But who composed the music to the text of Fyodor Glinka?///Do not rush your interlocutor, even if he is a musician. Let me see. Most will answer you: "folk song." Others will add - "it is not called" Troika ", but" Bell "". And the rare ones will name the composer Alexei Nikolaevich Verstovsky, the most famous author of the operas “Pan Tvardovsky”, “Askold’s Grave”, “Thunderbolt” at that time ... He wrote a song to the words of Glinka in 1828. For three years, she became popular.///Not only Verstovsky set the words of Fyodor Glinka to music. There is music for these words by Ivan Rupin, written in 1831. And Alexandre Dubuc. There is one more song based on these verses by F. N. Glinka. On the notes it says: “"Bell". Music by Count M. Yu. Vielgorsky, lyrics by A. Pushkin. Obviously, the name of the Decembrist poet Fyodor Glinka did not suit the censorship or the publisher.///In 1834, in the St. Petersburg almanac "Novoselye", as if in response to Fyodor Glinka's "Troika", another famous "Troika" appeared, which was even entitled "Another Three". This poem begins with the words: The troika rushes, the troika jumps, Dust curls from under the hooves; The bell cries loudly And laughs and squeals. Loud on the way There is a bright ringing; Then in the distance he will blurt out cleanly, He will moan deafly ... This was written by a friend of Pushkin, a very famous poet at that time, Pyotr Andreevich Vyazemsky.///Since that time, Troikas began to appear one after another. And about who wrote the music of this song, we will say a little later.///In 1837, a third-rate Petersburg poet Konstantin Bakhturin, who later had a relationship with the emergence of the libretto of Mikhail Ivanovich Glinka's future opera Ruslan and Lyudmila, published a collection of poems in which he published The Coachman's Song: Al can't be seen again Former red share? I'm not my own soul I dry as if in captivity. And I've been away: With a trio I will rush and fill With a lively song. Not with a whip Let's drive Only with a mitten And by the stumps over the hills Horses rush like birds ... It is further said how the young man sang and walked and took a walk - day and night he suffers for his “cute”.///This “Song” was set to music in 1840 by the glorious romance writer Alexander Lvovich Gurilev. There is another one for these words - which was composed by Nikolai Alekseevich Titov.///In 1839 in Moscow, in the printing house of August Semyon (and not Semyon), the Almanac for 1840 by N. Anordist was published.///This almanac contains four poems under the general title "Threes redone, four." They vary the lines of Pushkin, Fyodor Glinka and Vyazemsky - here are the trio of “greyhound horses”, and the coachman, and the song about the beloved, and the paraphrases “eyes of the girl-soul”, and “Why, why, oh evil people, you disturbed our peace "...///The first of these triplets became a common song that lives on to this day.///Anordist's poem begins like this: The bell rings, and the troika rushes .../// But the people rejected this initial stanza, and the song begins with the second: Here is a big village on the way, - My coachman looked there; He began to beat zealously, And slowly he sang: "Your beauty seduced me, - Now I'm sick of the whole world; Why, why bewitched If I am not dear to your soul!///In this song, the coachman anticipates his imminent death, says that horses will be sad about him, dreams that a “young girl” would come to his “grave”: They say he's gone The poor girl in anguish, She faded prematurely Sad for the poor coachman.///It is not clear from the text why the girl, who did not love the coachman, fades untimely in longing for him. And it is clear that in the folk song version this stanza is also discarded.///The literary source of the song was unknown for a long time. It was established already in our time by a remarkable connoisseur of Russian poetry and folk poetic creativity, Ivan Nikanorovich Rozanov. But he could not unravel the secret of the Anordist surname. In his opinion, the entire almanac - it contains more than three hundred pages - contains the works of one author. Apparently, it is. And most likely, N. Anordist is a pseudonym. However, the compiler of the magnificent bibliographic work "Russian Poetry in Russian Music" G. K. Ivanov indicates that the name of the Anordist was Ivan. This is taken from the notes. But how N. Anordist became Ivan has not yet been established. Among the most popular "Triples" is the one that Nadezhda Andreevna Obukhova performed in her concerts: Dust is spinning, curling On the road through the fields. Whirlwind rushes and rushes Three greyhound horses///In the following lines, the "riotous" coachman sings a Russian song and "fills himself with a nightingale" under the "bell ringing in the flood". And although his song is remote, loud, whistling, silent in the distance, it gives rise to an anxious and dreary feeling in the soul of the poet. The words of this song were composed by the now unknown, but in the last century very prolific poet Vasily Chuevsky. As for the music, it was written by P. P. Bulakhov. The song “Here is a big village on the way” to the words of Anordist was also written by P. P. Bulakhov. And a song to the words of Vyazemsky - "The troika rushes, the troika jumps" - also P. P. Bulakhov.///Allow me! How to understand? Is P. P. Bulakhov the author of three Troikas?///Not! Here we must remember that there were three Bulakhovs in the history of Russian music. And all three names begin with the letter P. The elder Bulakhov, Pyotr Alexandrovich, a famous Moscow singer in the 1920s and 1930s, the owner of a tenor of unusual softness and beauty, was not only an opera singer, but also a composer of music. He had two sons - Peter Petrovich and Pavel Petrovich. Pavel also had a tenor and in the 1850s-1860s he was famous as a great opera singer and at the same time he also composed romances and songs. But the most outstanding of them was the eldest son of Pyotr Alexandrovich - Pyotr Petrovich, who possessed not only a tenor, but also a remarkable talent as a composer. He, more than a brother and than a father, was destined to glorify this talented family.///Now is the time to say that Pavel Bulakhov wrote the Troika to the words of P. A. Vyazemsky “The Troika is racing, the Troika is galloping”. And “Troika” to the words of Chuevsky and “There is a big village on the way” with beautiful music to the words of Anordist are songs by Pyotr Bulakhov. It so happened that these two of his songs became the most popular. He, Pyotr Petrovich Bulakhov, owns the paraphrased folk songs “In the field there was a birch tree” and “Snows are not white”, which Selifan, Chichikov’s coachman, sings in “Dead Souls”. However, there is an assumption that the last two - paraphrases of folk songs - belong to his father, Peter Bulakhov Sr.///There are notes in front of me: “Gypsy song“ Here is a big village on the way. Arranged by P. Bulakhov. Moscow. In A. Miller's music store. Censorship permission - October 26, 1845.///Only five years have passed since the publication of N. Anordist's almanac, and the song is already widely known in the "arrangement" of P. Bulakhov. Obviously "gypsy" here does not mean a genre, but connects the song with a performer from a gypsy choir. The designation "gypsy song composed by P. Bulakhov" would deprive it of its specific qualities, it would be perceived as an imitation of a gypsy song. I think that in this case arranging is equal to composing.///The mysterious N. Anordist began his poem with the line "The bell rings, and the troika rushes." Another obscure poet, Grigory Malyshev, began his own in almost the same way: “The bell rings, and the troika rushes.” The same Ivan Nikanorovich Rozanov was the first to draw attention to the similarity of these principles.///The anordist wrote a sad poem. Malyshev writes about a moment of joy. For fifteen years the young warrior has not been at home, and suddenly he enters, unrecognized, into the circle of his relatives, and reveals himself. The poem is called "Date in fifteen years."///Malyshev's book of poems appeared in 1848. He was not a professional poet. The son of a soldier, he himself served in the army, and then served as regent at the St. Petersburg Court Singing Chapel.///The book of poems is prefaced with a preface, from which we learn that for seven years Malyshev was separated from his relatives and given to a “state institution”, and when he was seventeen years old, he participated in the Turkish war, and later in the Polish campaign. Obviously, the fate of Malyshev himself is told in the poem. If he was cut off from his family at the age of seven, studied for ten years, and then participated in two campaigns, then about fifteen years had passed, and his relatives might not really have recognized him. It can be assumed that Appointment Fifteen Years Later was written under the vivid impression of a meeting back in the 1830s. And that it was not Malyshev from Anordist, but Anordist from Malyshev who borrowed the construction of the first line, especially since Anordist himself assured readers that his “Troikas” represent a “reworking” of well-known ones, in other words, they contain echoes of other people's compositions.///Starting with the line "The bell rings, and the troika rushes" Malyshev again finished the poem with a troika: The bell rings. Coachman rushes There is already one on the way back; And again the song is heard In the distance, you can barely hear: ding, ding, ding. Who wrote the music for these words?///I think that since Malyshev served as regent in the Court Chapel, he probably composed the music himself. The song is great. Nikolai Alekseevich Nekrasov “turned” this topic in a profound and completely new way in one of his early poems - 1846. In his poem "Troika" it is not the coachman who drives the troika who sings about his beloved - here the poet talks about the fate of the girl, whose heart began to beat at the sight of the troika carrying away the handsome cornet: What are you greedily looking at the road Away from cheerful girlfriends? To know, the heart beat alarm - Your whole face lit up all of a sudden. Nekrasov's poem is a prediction of her future tragic hopeless fate. Do not look longingly at the road And do not rush after the three, And sad anxiety in my heart Shut it down forever!///Both Gogol's and this - Nekrasov's - "troika" are connected with the song tradition. Its inner drama, depth of content, civic pathos inspired six composers - Olga Bernard, who composed the song "Rural Beauty" in 1852, N. F. Vitelaro, who set Nekrasov's poem to music (published in 1856), A. I. Dyubyuk ( in 1857), N. M. Leontiev (in 1857), S. A. Zybin (in 1858). The song by N. Leontiev was sung by N. A. Obukhova. On the sheet music of this composition is written: “N. Leontiev. Gypsy song "Troika". Re-arranged by A. Dubuc. 1857". Apparently, in the 1850s, this "Troika" was sung by the gypsies from the choir of Ilya Sokolov who created its success. As for the widespread song to these words, which was performed by M.P. Maksakova, it was obviously written by A.I. Dyubyuk.///The cycle of the best songs about troikas should include the famous “The bell rattles monotonously”, the words of which were composed by I. Makarov. Until very recently, we knew absolutely nothing about this poet, except for his last name. Yes, and that was installed only in the 1930s.///But recently the Permian philologist Alexander Kuzmich Sharts discovered the most interesting materials in the Perm oblarchive and found out that Makarov was a serf of the landowner Vsevolozhsky, that he was born in 1821 in the family of a coachman who served at the post office. As a child, the future poet constantly traveled with his father and knew well the coachman's life and coachman's songs.///Makarov's father died on the road - he froze.///Hearing that the young Makarov was writing poetry, the landowner sent him to the soldiers. But he was also punished as a soldier. For an unauthorized absence home, they assigned him as a coachman in a convoy company that accompanied the exiles on their way to Siberia. In 1852, at the age of 31, Makarov died. Just like the father. Freeze on the road. Manuscripts were found in his bag - these were his poems.///The information I cited about Makarov was made public by the literary critic Svetlana Magidson, who announced it on the radio. Makarov's poem "The bell rattles monotonously" inspired the wonderful melodist Alexander Lvovich Gurilev, whose name we have already mentioned. In 1853-853 he wrote a song that is still included in the repertoire of many singers and choirs, performed both with the guitar and accompanied by an orchestra of folk instruments. And although this song does not contain the word "troika" - this is a song about a troika, about a coachman and his song. In addition to Gurilev's "Bell" to these words of Makarov, there is another song that was composed by an author unknown to us. It is constantly performed on the radio and in concerts and is loved for its simplicity and noble motive.///As time went. The traditional genre of "coachman's romance" - the complaints of a coachman in love - became more complicated, taking on an increasingly tragic character. It is worth comparing with the "Troika" by Fyodor Glinka the poem of the peasant poet Ivan Zakharovich Surikov.///Steppe and steppe all around, The path is far In that steppe deaf The coachman died...If we recall the fate of Makarov, it becomes clear that Surikov's poetic story is taken from life itself. The song on Surikov's words was written by S. P. Sadovsky. Interestingly, this composer has no other published songs: “Steppe and Steppe all around” is his only registered work. This is already the end of the 1860s. Following Surikov, the Yaroslavl poet-democrat Leonid Nikolaevich Trefoliov told about the tragedy of the coachman in a poem called "Coachman". And it is a translation from the Polish poet Vladislav Syrokomlya (a pseudonym under which the poet Ludwik Kondratovich printed poetry). When I worked as a coachman at the post office, I was young, I had strength, And firmly, brothers, in one village I loved the girl at that time. Once, in a snowstorm, the boss sent a coachman with an urgent package. He saw a frozen man on the road: And the snow really covered that find. The blizzard dances over the corpse. I dug up a snowdrift and rooted to the place, Frost came under the sheepskin coat. Under the snow, brothers, she lay ... Brown eyes closed. Pour, pour more wine There is no more urine to tell! In the same year, Trefolev wrote down another poem, which is deliberately opposed to Fyodor Glinka's "Troika", at least by the proximity of the first line: Here comes the postal troika On the Mother Volga in winter. The coachman, sadly singing, Shakes his wild head.///From a conversation with a friendly rider, it turns out that the "rich" and the headman intervened in the life of the coachman: Ah, dear sir, good sir, It's almost a year since I love Yes, wicked old man-Tatar He scolds me, but I endure. Ah, dear Bari, Christmas time is coming soon, And she won't be mine anymore The rich chose, yes hateful, She will not see happy days!...///Who wrote the music to the words of these Trefol poems has not yet been established.///But, as we see, the texts of all these songs were composed by poets - well-known, little-known and simply unknown. The authorship of Anordist, Malyshev, and Makarov was established by the late I. N. Rozanov; But from the fact that the name of the poet is established, the song does not become less popular. On the other hand, its “age”, its “evolution”, is being clarified, because in folk song usage, the poetic text, as already mentioned, sometimes undergoes very strong changes. So from the "Troika" of Vyazemsky, out of forty lines, only six remained, the rest of the text is a composition by performers unknown to us. This song is often heard on the radio and in concerts - daring, dashing, happy: Rides, rides, rides to her, He goes to his beloved. Whoa!., and the trio suddenly sank At a familiar porch. The girl flew into the sleigh And kisses the young man ... ///All this is not in Vyazemsky's poem. Fyodor Glinka has the first lines: Here comes the daring trio In Kazan , an expensive pillar. Kazan , important for the poet due to some personal associations , soon disappeared. The people began to sing: Along the pole path.///And it is clear: Kazan is too specific, and it is not clear why the troika rushes to Kazan, and not to some other city. By the way, the folk version is always better than the literary version and is more convenient for singing. Ivan Nikanorovich Rozanov, whose name I remember more than once, called the people a great critic and editor. This is a great formula. Among Russian folk songs - elegiac and daring - songs about troikas have a special place. These are songs about songs. They are sung by coachmen who tell about their bitter fate or reveal the riches of their soul. The people themselves sing in their face. These are folk songs about the people.///An endless topic! .. Pushkin, Gogol, Nekrasov, Blok are involved in it ... Dedicating one of his greatest poems to Russia, Blok remembered the song of the coachman, and the "road distance", and the troika: Again, as in the golden years, Three worn out harnesses fray, And painted knitting needles In loose ruts...///“Give me a trio of horses fast as a whirlwind, sit down, my driver, ring, my bell, fly up, horses, and carry me from this world,” Blok quotes Gogol. And he writes that in the form of a troika, like a dazzling vision in a brief creative dream, future Russia flashed to Gogol: “Oh, what a sparkling, wonderful, unfamiliar distance to the earth! .. Russia! where are you going? Give an answer. Doesn't give an answer. A bell is filled with a wonderful ringing; the air torn to pieces rumbles and becomes the wind ..."///When we remember the songs in which irresistible troikas rush, we hear the memory of voices - N. Obukhova, M. Maksakova, V. Levko, I. Arkhipova, L. Ruslanova, L. Zykina, we hear I. Kozlovsky, S. Lemeshev, V Noreyka, I. Skobtsov, B. Gmyry, N. Kondratyuk. And the harmonious sound of the choirs…Many people sing these inspired songs.///There are more than a hundred of them - Russian triplets: “A whirlwind rushes up the mountain”, and “Harness, driver, rather a troika”, and “Troika, troika, how much oblivion you give”, and “Guy and troika, fluffy snow”, and “On the last I’ll hire a top five horses”, and the famous “Coachman, don’t drive horses” ... Even from the first lines it is easy to understand that these songs are no longer about coachmen, but about riders. They arose at the end of the past - the beginning of this century, for the most part these are pop songs, which have little in common with those truly folk songs that were created in the 19th century and are still being sung.///It's amazing!.. In our age of cars, flying vehicles moving faster than sound, space rockets, when the troika no longer surprises anyone with speed, songs about the troika still amaze. And they rejoice. And make you think. And sometimes be sad…Well! This is a property of true poetry - it is always modern, because in the songs about the troika the Russian national character poured out, the soul of the people appeared, all the heat, all the scatter of its feelings. And although there is no longer that life, no troikas, no coachmen, no passing cornets, the song lives and sounds over the world and, as Gogol says, winds around the heart.///This text is an introductory piece.
http://historic.ru/books/item/f00/s00/z0000272/st005.shtml///Here comes the postal troika///Russian post is one of the oldest in Europe. Back in the X century. in Kievan Rus there was a "cart" - the duty of the population to provide horses from "camp to camp" for princely messengers and other sent persons. The population was obliged to administer the tax: to provide horses, wagons and drivers for persons traveling for state needs and their cargo.///(Tyaglo - taxes, taxes in kind and duties that were imposed on the non-service population: peasants and townspeople.)///When in the thirteenth century The Tatar-Mongolian hordes attacked the scattered Russian principalities and subjugated Russia to their power; there was already an established postal service here - the Yamskaya chase.///There are several opinions about the origin of the word "yam". Some produce it from the Russian “Emlyu”, that is, I take it, others believe that it comes from the name of the people “I eat”, who paid tribute to Veliky Novgorod with horses and, as if under Ivan III, were dispersed to different places to perform the Yamskaya service.///Most likely, the word comes from the Tatar "dzyam" - the way, the road. Later, the word "yam" denoted a station with horses, wagons and drivers who were maintained by the population. The pit consisted of two or three huts, an extensive stable and sheds for oats and hay. Messengers were now transported not by the population, but by specially selected and appointed persons - coachmen.///The burden of yamskaya duty lay almost entirely on the shoulders of the peasantry. The boyars, and especially the monasteries, were able to obtain letters of commendation that exempted them from supplying carts and keeping pits. "No pits or carts are needed," these letters said.///In the XV-XVI centuries. There was already a well-established postal service. Ivan III, the Grand Duke of Moscow, was in charge of the organization of the pit chase, sometimes he himself signed the road, which indicated the direction, the number of carts, horses and the food due.///In the road trip of 1493, issued to the bailiff who accompanied the "German Snoops", it is said: "Give from the pit to the pit, two carts, and the stern would have been given to the pit, where he should be smoked, yes, two parts of beef, yes pork, and salt, and zaspa (cereals), and sour cream, and butter, and two half-money kolachs according to this letter of mine.///Here is what the Austrian baron S. Herberstein wrote, sent by Emperor Maximilian to Vasily III in 1526: there will be horses for him. At every pit horses were changed; there was no shortage of fresh ones. Those who demanded 10 or 12 were brought 40 or 50. The tired ones were thrown along the road and replaced by others that were taken in the first village ... Everyone took a horse, which seemed suitable to him, we immediately changed tired horses ... Anyone can drive horses as much as he likes, and if a horse falls or cannot continue riding, then with complete impunity you can take another from each nearest house or take from the first one you meet, except royal messenger."///Herberstein notes that the speed of riding pit horses is much higher than in the West: he traveled from Novgorod to Moscow in 72 hours, and his entourage - 52.///The chase, which existed for several centuries, was created for the needs of the government. Therefore, it was organized primarily on the roads that are important for state relations. Chase was organized on newly acquired lands, for example, in the Kazan and Siberian kingdoms under Ivan IV.///The pits were separated from each other by 30-40 versts (verst - 1.0668 km).///From the Tatar word "yamchi" (guide, guide) came the word "coachman". Initially, this was the name of the persons in charge of the pit - a kind of stationmasters, government officials. There were usually two or three of them in the pit. Under Ivan III, they ensured that there was always a sufficient number of horses and food for them, and they were in charge of all the calculations. With the increase in persecution, by 1548, they were elected by the entire district, the urban and rural population and sent to Moscow, to the treasurer of the Grand Duke. The coachman kissed the cross saying that "he will not believe against the Grand Duke and will perform his service honestly and not lazily." Pit horses could only be used by those who traveled with a princely "traveling certificate", certifying that they were traveling not on personal, but on state business.///Yamskaya duty lay down a heavy burden on the population. To provide for themselves in case of a large number of travelers, the coachmen recruited and kept a lot of horses in the pit, so that the government sometimes had to send bailiffs to select these horses and return them to the population.///In the second half of the XVI century. the nature of the Yamskaya chase is changing. The population does not put up horses in the pits, the plowed peasant does not carry messengers. For the chase, "pit hunters" are used, serving a duty for the whole society.///In state documents of the 20s of the XVII century. they are called coachmen. This word takes on a different meaning: wagon, charioteer, coachman.///Coachmen's salaries were sent by the "yamskoy order", founded in the second half of the 16th century. It was first mentioned in documents in 1619 as an independent institution run by a special judge and clerks. There was an order in the Kremlin. Much attention was paid to the activities of the Yamsky order. At various times, it was headed by well-known statesmen, including Prince D. M. Pozharsky, an outstanding military and political figure, a hero of the liberation war against the Polish interventionists at the beginning of the 17th century.///Thus, the yamskoy hunter is no longer a hired person from society, but a "sovereign coachman". He undertakes to have three horses ("to keep him on the vyti three measures"). Some researchers see this as the origin of Russian triplets.///According to the order from Moscow, hunters had to choose people "kind, the best, family-minded, subsistence."///So that the pit hunters were always in the pit, by the second half of the 16th century. pit settlements begin to grow, to which land is allocated for arable land and mowing. By the beginning of the next century, settlements have from several dozen to a hundred households.///The memory of the Yamsk settlements is preserved in the names of the streets. In Ryazan, for example, long after the October Revolution, one street was called Yamskaya Sloboda, and the square was called Yamskaya Zastava. Even now there are four Tversky-Yamsky streets and Tversky-Yamsky lanes in Moscow. Here, near the old road that connected Moscow with Tver, there used to be a Yamskaya settlement.///The life of the coachmen was hard. Here is what is said in the letter to the Novgorod voivode to the boyar Prince Urusov (1684): “Our Great Sovereigns have sent a letter to you, ordered the coachmen, who drive baggy and blundering with the mail, to inflict punishment, beat the boats mercilessly, and continue to order them to drive from pit to pit with mail with great haste day and night on good horses, and became the drivers themselves would have driven in the pit at the indicated hours in the queues that were selected for that chase, but they would not send their workers, and would not hire anyone, and they would not stand anywhere and did not linger in the pits. seven versts, and in autumn and winter five versts, and in that the postmen are disobedient, they don’t drive at night.///The salaries of the coachmen were paid very inaccurately. On one of the petitioned offended coachmen there is a resolution: "And according to our great sovereign, the Kozmodemyansk coachmen Samoshka Degtyarev and the comrades of our great sovereign were ordered to give them a monetary salary for the past year according to salaries, and henceforth to give all year without Moscow red tape."///In 1616, an inquiry was ordered on the complaint of the coachmen: instead of the prescribed 15 rubles, they received only seven, and for such a fee they had to make hauls of 300, 400 and even 700 versts. Horses fell on an unbearable ride (a horse in those days cost five rubles). The coachmen, according to them, "were indebted, their wives and children were mortgaged, and many fled."///In order to establish the correct mail between Moscow and St. Petersburg, in 1714, 5048 coachmen were moved from different pit roads to the road that was still deserted, often devoid of settlements. Petersburg pits laid their weight on the drivers of the entire state, they were driven even from such remote roads as Kyiv and Azov.///The Senate instructed the governors "to choose the best family and horse people, kind and prosperous" - just like they demanded in the 16th century.///The extreme high cost of living, swampy malaria lands, exhausting chase between St. Petersburg and Moscow led to ruin and wholesale extinction. So, in the Tosnensky pit, which is closest to St. Petersburg, out of 55 settlements, 45 died out and fled, and in Volkhovsky, out of 56, only four remained. But in the memory of the people the coachman with his dashing troika was preserved as a favorite image. More than 100 works of Russian literature are dedicated to the coachman, and many of them, set to music, have become folk songs: Here is a postal troika rushing along Mother Volga in winter ...///The Russian coachman, who raced through the forests and steppes, "overtaking the falcon and the raven," as the old song says, personified the will. “Oh, troika, troika bird! Who invented you?” exclaims Gogol ... - The coachman is not in German boots: a beard and mittens, and he sits, the devil knows what; , the spokes in the wheels mixed into one smooth circle, - the road only trembled, and the pedestrian who stopped screamed in fright - and now it rushed, rushed, rushed!///In addition to chasing, the coachmen were engaged in private carriage, but the traveler, not "for state needs", without a traveler, did not have the right to demand horses and had to negotiate with the coachmen.///Yamskaya chase was not regular. Regular mail appeared in the second half of the 17th century. An unborn Pskov boyar Afanasy Lavrentievich Ordin-Nashchokin, a diplomat and politician (born c. 1605, died in 1681), played an important role in its organization. He sought Russia's access to the Baltic Sea and was a supporter of economic and cultural ties with Western Europe and the East, being the predecessor of Peter I in this respect. saver." He managed the foreign policy of Russia.///Ordin-Nashchokin was an educated person, knew Latin and German, mathematics, and later learned the Polish language. Through his efforts, a regular postal service was established, primarily through international lines.///About it, he wrote to Tsar Alexei Mikhailovich: "This is a great state connecting business, henceforth, to the multiplication of all good things will be for the kingdom of Moscow."///The first foreign postal line arose in 1665, when the Moscow government entered into an agreement with the Dutchman Jan van Sweden, who, for a very large amount at that time (1200 rubles), undertook to organize a postal service with his people on his horses to the "Sveisky" (Swedish) frontiers. Van Sweden's messengers delivered mail through Riga, where they passed it on to the Brandenburg post. This provided an end-to-end connection with Amsterdam. The mail went once every two weeks.///Essentially it was a private enterprise. Next to van Sweden's people were pits and pit people guilty of the state. They met on the same paths.///In May 1666 - January 1667. important negotiations on peace between Russia and Poland took place in the village of Andrusovo (between Smolensk and Mstislavl). They were furnished especially solemnly. A tent of red cloth, a golden carpet, which was spread on the table during meetings, a silver and six copper shandals with tongs, a silver tub and a washstand, wax and twisted tallow candles were delivered to the Russian camp. Assuming the seriousness of the negotiations, 10 reams of paper (4800 sheets) and a jug of ink were released from Moscow.///In Article 6 of the Treaty of Andrusov, it was stated that in order to facilitate political relations between sovereigns, "and most of all, to increase trade profits for both those great states," to establish "correct mail" instead of messengers. This mail was also allowed to send private correspondence for a fee. Here, for the first time, the word "mail" attributed to Russia is encountered.///The tsar ordered this mail to be kept by the "foreigner Leonty Marselius and be that post from Moscow to Courland, while the embassy is there. And when the embassy is completed, then that post will be through Smolensk and Vilna. And come in a week and be that post on pit carts. And for the pursuit of that mail of the great sovereign about the salary, Leonty Marselius said that in that for his service he relies on his sovereign's merciful consideration.///Coachmen, recruited by letter from the Yamsky order, swore an oath to carry suitcases and bags "with all sorts of letters, with seals from Moscow to the border and from the border to Moscow ... with all care and haste day and night, without opening or looking at anything and friend They gave it to a friend intact.///The coachmen were dressed in green cloth caftans, an eagle was sewn on the right side of red cloth, and a horn was sewn on the left, "so that they were known on the road." A horn hung over their shoulder. Later, under Vinius, the image of an eagle was on a tin breastplate.///The instruction to Marselius was compiled by Ordin-Nashchokin. He also ordered to inform foreign merchants about the organization of mail with Poland and Sweden.///The payment for the delivery of letters from private individuals was set at two to three altyns "from the spool (4.266 g) of each letter." So, a letter from Moscow abroad cost 2 altyns 3 money (8 kopecks). In the 2nd half of the XVII century. this amounted to approximately 1 ruble in terms of the beginning of our century. 36 kop.///Foreign newspapers, as they were called then, "chimes" came to Moscow by the Riga post.///Russian merchants were hostile to postal communications with foreign countries. Their point of view was reflected by the well-known publicist of that time, Ivan Pososhkov, who wrote in an essay on military behavior: And what the great sovereign received in it, God knows, but how much death from that mail in the whole kingdom of the chinitsa is impossible to calculate. Whatever happens in our kingdom, it will spread to all lands, "Russian people are impoverished. And for the sake of mail, foreigners trade mockingly, and Russian people lived out of themselves. And if there were no foreign mail, then the bargaining would be equal, as our Russian people do not know about their goods, so even they would not know about our goods, and the bargaining would be without offense. It seems to me, sir, that it would be better to block that dira tightly ... ".///Ordin-Nashchokin ordered to ensure that "merchants secretly with letters did not hire or send anyone, therefore, in previous years, stealing the great sovereign's duty, with such messages they carried expensive things, stones and pearls and gold in sums and bundles with messenger letters".///Thus, the state mail became not only accessible to private persons, but it was granted the exclusive right of postal communication.///In the hands of the Marselius, the post was until December 1675, when it was ordered "the Vilna and Riga posts, which were in charge of Peter Marselius, to be in charge of the Ambassadorial order to the translator Andrey Vinius", for the reason that the mail began to arrive in Moscow with a delay of a day or two.///Andrei Andreevich Vinius, the first Russian postmaster, "the chief of the post office", was in charge of postal affairs for more than twenty-five years - under Alexei Mikhailovich, Fedor Alekseevich, during the reign of Princess Sophia and, finally, for almost twelve years, until 1701, under Peter I Vinius (1641-1717) - one of the most prominent figures of the Petrine era. In addition to the postal business, he was engaged in the search for ore deposits, was in charge of the pharmaceutical business.///Vinius believed that the postal service was necessary not only for the needs of the state apparatus, but also for the entire population. Concerned about the establishment of the Siberian Post, he pointed out that "trading people who come to their trades must be in great need, going to the Chinese state, to write about themselves in their homes and to their parents about their needs."///The Siberian and Arkhangelsk Posts began operating in 1693. The postal service in Siberia gradually covered more and more space. When in 1733 Captain-Commander Bering went on the second Kamchatka expedition, he was ordered to attend to the arrangement of postal messages on his way, and he had the right, in agreement with the Siberian governor, to set a fee for letters, and where money did not go, to determine it goods.///In addition to mail bags, the coachmen had to carry heavy loads: barrels of fish and vinegar, frozen fish, etc. Due to unrest among the coachmen, the government decided that the post office should carry only light parcels (furs, fruits, etc.), medicines and wine would be sent by special courier, and heavy luggage would not be transported at all.///The mail went quite quickly: in winter, with good roads, they made an average of four and a half versts per hour, and they drove up to 180 versts without a shift.///Under Elizabeth Petrovna, there was also a special "fruit post". Peaches, grapes, etc. were brought from Astrakhan to the royal table - "for our use." To prevent the fruits from spoiling, they were transported on special wagons - "rocking chairs", which were taken from another "fruit mail" that operated between Moscow and Tsaritsyn.///Intercity postal lines of the late 17th century. made up only an insignificant part of the postal routes of Russia, and as before, the troika of the Yamskaya chase rushed in all directions. The roads that led from Moscow to the outskirts of the state were called pit roads.///Under Peter I, the yamskoy order strengthens its activities, desolated pits are restored, and they are established where they were not. In 1718 and 1720 the senate was instructed to develop postal communications, since "colleges cannot manage their affairs, if a decent riding post does not go through the main cities and provinces of the state once or twice a week, this is one of the most necessary and, moreover, the easiest things to do."///In 1717, carts were already divided into pit and postal carts. Transportation on pits was cheaper. In 1721, it was ordered "the yamskoy order with servants, and in all provinces and provinces, yamsk clerks and coachmen and postmen to be in charge of him, the postal director general."///In 1725, the Yamsk post office ceased to exist, and the postal service became unified. Under Peter I, post offices and post offices were opened in St. Petersburg and Moscow, and then in Riga, Vyborg, Revel, Narva, Arkhangelsk and Vologda. Each of these post offices had a postmaster and "postillons".///The year of foundation of the Moscow Post Office is considered to be 1700.///The fee for forwarding letters was very high, as it was calculated depending on the distance. The further the letter went, the more expensive it was to pay for it. The unit of weight was the spool. For a letter from Moscow to the western border they took 8 kopecks, to Tobolsk - 18, to Tomsk or Krasnoyarsk - 30, to Yakutsk - 40.///The paper at that time was very thick and heavy, besides, the letter became heavier from the wax seal. Therefore, it usually weighed from one to three spools. If we translate the value of Peter's money into the money of the beginning of our century, it turns out that sending a letter weighing one spool cost 16 times, and weighing three spools 48 times more than, say, in 1900.///For each postal path through which the letter went, there was its own fee. There were taxes: Siberian, Orenburg, Little Russian, Smolensk, Novgorod, etc. The tax also depended on the class of the sender: letters from merchants and nobles were paid differently. Different rates created difficulties in determining the fee for forwarding. Therefore, in 1783, a general fee was established - 2 kopecks. from the lot for every 100 versts and 1 kop. for a distance of less than 100 miles.///However, it soon became clear that with such a fee, the cost of sending letters to near and far cities is disproportionate.///So, for a letter weighing 1 lot from St. Petersburg to Novgorod, one had to pay 3 kopecks, and to Irkutsk - 1 ruble. 19 kop.///In 1807, the maximum fee was set at 50 kopecks. from a sheet weighing up to 1 lot. There have been many misunderstandings and abuses in determining the fee for delivering a letter. This is how the postmaster sometimes determined the fee for a letter: “To Kharkov, a thousand faithful miles, to Ryazan - fifty, and there is the same number, and from here ... from here ... - here Philip Stepanovich climbed onto the chest and began to run his finger over the map. .. - Here you can’t even reach it with your hand, it’s nailed very high ... Suppose, probably, it will be 800 versts true" . At the same time, the postmaster illegally added another 25 kopecks. "for sealing wax"./// ( P. Onin. Postmaster of the 40s. Petersburg: Postal and Telegraph Bulletin, 1910, No. 2. )///In 1844, a uniform fee was introduced: 10 kopecks were charged for sending a letter, regardless of the distance. per lot. This simplification of the postal rate immediately increased the flow of correspondence.///Cities grew, they became larger and more populous. This necessitated an intra-city post office. The first city post office appeared in St. Petersburg on January 17, 1833. Until that time, letters in the city were delivered by servants or handed over on occasion. The city was divided into 17 districts, each with two postmen. Letters for delivery by mail were accepted at 42 reception points - small shops that traded from morning to night. The owner of the shop accepted the payment. Three times a day, letters and money were taken from the shopkeepers and handed over to the city post office at the post office. Here they were sorted, stamped and delivered to the recipients.///There was a sign on the benches: "Reception of letters to the city post office." The owner of the shop withheld ten percent of the postage in his favor. For a letter, regardless of weight and the area of the city where it was delivered, 5 kopecks were charged. silver (1 ruble in silver = 3 rub. 50 kopecks in banknotes). For an invitation card, business card, etc. - half the price.//////The city post office in Moscow began to operate on January 1, 1845, although a petition for its organization was filed as early as 1834. The petition stated that the city post office would give "tangible relief", because due to the vastness of the city "delivery of letters between acquaintances living at a distance from one another, and more than invitation cards and business cards, is fraught with great difficulties, so that with considerable expense and distraction of people from work, it is hardly carried out in two or three days.///The city was divided into 23 districts, which had 111 collection points in small shops. The first branch was at the post office, the second - on the Arbat. In the summer, temporary checkpoints were opened in Petrovsky Park and Sokolniki. As postmen, 85 free and literate people worked, who went around the reception points 6 times a day. Each postman had to deposit 30 rubles as a deposit. banknotes.///The work of the Moscow city post faced great difficulties. Here is what one of the high postal officials wrote 20 years after its opening: “If in Paris, London, Berlin, letters are delivered not to apartments, but are given to the gatekeepers of houses, if in St. Petersburg for the most part it costs nothing to find a house, but an apartment in a house, where the recipient lives, then Moscow is far from these conveniences.It is not enough to find a house here, it is much more difficult to find the right person in the house, and it often happens that at the very beginning of these searches, a pack of dogs rushes at the postman, especially in remote parts of the city and forces him, forgetting the fulfillment of his duty, to seek not always successfully his own salvation.///Рейтинг@Mail.ru Rambler's Top100 ///© HISTORIC.RU 2001–2022///When using project materials, it is obligatory to install an active link: http://historic.ru/ 'World History'.
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