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Modern pop music does not have many performers who can not only sing a song well (which is already rare), but also write words and music.
Modern pop music does not have many performers who can not only sing a song well (which is already rare), but also write words and music. Unfortunately, the skill of modern “stars” is descending lower and lower from the marble staircase, leaving modern connoisseurs of quality music with much to be desired. The music of the bards of the 20th century is different! We invite you to remember the 5 most famous bards in Russia, who have already become legends.
Who hasn't heard of Vladimir Vysotsky? He had a unique poetic gift - the lyrics of his songs are filled with sharp sarcasm about reality, but at the same time they do not lose optimism. Among other things, the songwriter was an incredibly talented theater and film actor. The cause of his death still remains a mystery, but in the hearts of his fans, Vysotsky is still alive.
Bulat Okudzhava is also one of the brightest representatives of the genre of art song; he is the author of more than 200 compositions, including the famous and covered in various ways “Song of the Street Child”, “Your Honor” and many, many others. Even one of the asteroids in the solar system is named after Okudzhava.
The songs of Yuri Vizbor, in comparison with the painful problems of the two above-mentioned authors, on the contrary, are distinguished by their amazing melody and tenderness. His songs (for example, “My dear, forest sun”) were especially popular in the 60s and 70s. And today many bardic festivals are held in his name.
Alexander Rosenbaum is alive and well to this day, and continues to delight his fans with great songs own performance. A unique feature of this author is that he is either adored or simply not perceived, but his talent does not evoke middle emotions. Interestingly, Rosenbaum was originally an emergency doctor, and only in 1980 did he go on stage.
Oleg Mityaev is best known for his song “It’s great that we are all gathered here today,” which was sung at any feast and on any hike. He was born into a simple working-class family, and followed in his father's footsteps. But in the early 80s, music in his heart still triumphed over everyday life, and
The phenomenon of Russian author's (as it is also called, amateur or bard) song has not yet been sufficiently studied. Some are indifferent to it, others consider it a distant past. But it is difficult to deny that the original song, with its subtle, deep lyrics and melody, was an important component of the cultural life of the USSR. “These songs penetrate not into the ears, but directly into the soul,” said Vladimir Vysotsky
Keepers of traditions
There is an ancient word, beautiful in its strangeness, “bard”. Among the tribes of the Gauls and Celts, this was the name given to singers and poets. They kept the rituals of their peoples, their traditions. And the people believed them, trusted them, honored them, loved them. In our country, the bard song movement took shape in the 50-60s of the 20th century. When bards first began to appear, they looked completely ordinary. They were students in baggy pants. They did not yet know that they would be called bards, and the songs they wrote would be original or amateur. For them, these were just songs about what worried them...
The bard song appeared as if by itself, in different places, one of which was the Faculty of Biology of Moscow State University. A wonderful girl Lyalya Rozanova studied here in the early 1950s. She had the gift of attracting talented people and inspire them to be creative. It is not surprising that it was under her that the student propaganda team became the center of youth life. At first, the biologists sang ordinary songs, but one day one of the propaganda brigades, Gena Shangin-Berezovsky, sang a song that he composed himself. She was dedicated to him to a close friend Yuri Yurovitsky was called that way - “Song about a faithful friend.” The guys liked the song so much that it was immediately included in the repertoire. And after her, there were songs written by Lyalya herself and another talented biology faculty member, Dmitry Sukharev.
These songs had some incredible magic - simple melodies with three chords, simple lyrics, but very unusual for those times, because they sounded not “we”, but “I”. And in this “I” everyone recognized themselves and their anxieties, feelings, tossing... Yuri Vizbor recalled: “... with Lyalya Rozanova’s poems we saved suicides. And myself, to be honest..."
Liliana Rozanova as part of the propaganda team (in the center, third to the right of the accordionist):
"Singing Institute"
A similar picture was at the Moscow State Pedagogical Institute named after V.I. Lenin, which in the 1950-1960s received the unofficial name “singing institute”. It was there that Yuri Vizbor’s first song “Madagascar” was written. Everyone liked the result so much that the whole faculty began to sing the song, and then all the Moscow tourists. Soon Vizbor composed a whole series of songs about trips to famous melodies, and over time he began to invent his own music. The later famous bard Ada Yakusheva recalled that when Vizbor was graduating from college, several volunteers volunteered to urgently learn to play the guitar. One of them was Ada herself.
Bard Ada Yakusheva:
Yuliy Kim with a guitar:
KSP - from and to
At first, the author's song did not arouse much interest among the state. But bards began to graduate from institutes and universities, but they still had the desire to meet, create and share their songs. And they began to unite in KSP - amateur song clubs. First in Moscow, and then in other cities of the Union. In May 1967, the Bards held the “First Theoretical Conference”, and in the fall of the same year the first all-Moscow meeting of the KSP took place. Then, on March 7, 1968, the First Union Festival of Art Song was held in Novosibirsk Akademgorodok. It was there that Alexander Galich’s only public concert in the USSR took place, at which he performed the song “In Memory of Pasternak.”
And Julius Kim and many other bards were forbidden to perform. The state could not allow musicians to openly sing about “entrances for bosses”, “offices with lackeys and secretaries”, “stompers” under the windows, about dachas and “Seagulls”, “cekov rations” and “vintage motorcycles”.
"Magnitizdat"
However, the ban only fueled the already great interest in the original song, which became a contrast to the official stage. A Soviet person could not listen to “the hope of a small orchestra led by love.” He had to listen to the Red Army choir, Kobzon's songs and walk in formation. But not everyone wanted this. "Unofficial" songs performed under acoustic guitar, were perceived as a revelation. Okudzhava and Vysotsky were copied from reel to reel, fortunately tape recorders were no longer uncommon. This distribution was called “magnitizdat”.
Interestingly, the attitude of the state and the attitude of individual party bosses towards the bards may not have coincided. For example, Secretary General Leonid Ilyich Brezhnev had a love for Vysotsky’s songs. One of the pilots of the government air squad said: “When we flew with Far East, suddenly Vysotsky’s songs began to sound in the cabin. We said to the flight attendants: “Are you crazy?” And they say that the tape was handed over from Brezhnev’s own entourage...”
Since 1969, Vysotsky also knew Brezhnev’s daughter Galina, who not only loved his work and attended his performances at the Taganka Theater, but also helped the artist.
"Songs of our century"
In the 1980s, PCBs were not only allowed, but they began to turn a blind eye to their revival. And the songs of the bard Sergei Nikitin could even be heard on the radio! In the 1990s, the concept of bard classics appeared, a series of albums “Songs of Our Century” began to be released, and you could simply buy them in a store. However, such accessibility did not reduce interest in the original song.
And today people pick up a guitar to sing about what concerns them. The author's song continues to live...
Great bards of the 20th century
Alexander Galich born in 1918 in Ekaterinoslav (now Dnepropetrovsk). After ninth grade I entered the literary institute. IN early period of his work, Galich wrote several plays for the theater: “Taimyr is calling you” (co-authored with K. Isaev), “The paths we choose”, “Under a lucky star”, “March”, “An hour before dawn”, “ The name of the steamboat is “Eaglet”, “How Much Does a Man Need”, as well as film scripts “ True friends"(together with K. Isaev), "On the seven winds", "Give me a book of complaints", "The Third Youth", "Running on the Waves". Since the late 1950s, Galich began to compose songs, performing them to his own accompaniment on a seven-string guitar. His songs were politically acute, which led to a conflict with the authorities... So Galich turned from a zealous Komsomol member into a conscious opponent of the regime and was expelled from the boundaries of first the official culture, and then the country. Galich was prohibited from giving public concerts. But despite the prohibitions, he was popular, famous, loved. In 1971, Galich was expelled from the Union of Writers of the USSR, of which he had been a member since 1955, and in 1972 - from the Union of Cinematographers, of which he had been a member since 1958. After this, he was deprived of the opportunity to earn his own bread and was reduced to a state of poverty. In 1974, Galich was forced to emigrate, and all of his previously published works were banned in the USSR. Galich settled in Paris, where he died on December 15, 1977.
Alexander Galich:
Bulat Okudzhava- one of the creators and recognized patriarch of the genre, which later received the name “art song”. In 1942, ninth-grader Okudzhava volunteered to go to the front, where he was a mortarman, machine gunner, and radio operator. After the war, he studied at the Faculty of Philology of Tbilisi University, after which he worked as a teacher of Russian language and literature in rural school near Kaluga. Okudzhava’s first book was published in Kaluga. In 1956 he moved to Moscow, worked as an editor at the Molodaya Gvardiya publishing house, and headed the poetry department at Literaturnaya Gazeta. Okudzhava composed his first song “Fierce and Stubborn...” while still a student. Okudzhava's tape recordings scattered throughout the country. Many of his songs are still relevant today:
Bulat Okudzhava:
Fierce and stubborn
burn, fire, burn.
To replace December
Januarys are coming.
Live through the summer
and then let them lead
for all your deeds
to the most terrible judgment.
Vladimir Vysotsky. Born in 1938 in Moscow. Among the numerous bards, Vladimir Vysotsky is perhaps the most famous. Vysotsky began writing his first songs in the early 1960s. These were songs in the style of “yard romance”. Around this time, Vladimir Vysotsky came to the Taganka Theater. In parallel with his work in the theater, he acted in films. Vysotsky’s most famous role is Zheglov in the television series “The Meeting Place Cannot Be Changed.” He wrote his songs mainly at night. He came home after the performance and sat down to work. Vysotsky’s work is usually divided into cycles: military, mountain, sports, Chinese... Front-line soldiers who listened to his songs about the war were sure that he personally experienced everything he wrote about. People who listened to his songs with a “criminal slant” were sure that he was sitting. Sailors, climbers, long-distance drivers - everyone considered him one of their own. Vysotsky said this about the author’s song: “This song lives with you all the time, does not give you peace, day or night.”
Vladimir Vysotsky:
Alexander Gorodnitsky- one of the founders of the art song. Until today, he actively works, writes poetry and songs.
Alexander Gorodnitsky:
Yuri Vizbor:
Victor Berkovsky- Russian scientist and prominent representative of the bard movement of the seventies. “To the Music of Vivaldi”, “Grenada” and more than 200 other songs written by Berkovsky are very popular among the people.
