Solovyov-gray-haired Vasily Pavlovich. Songwriting

One of the most significant songwriters in Russia of the XX century.

Biography

Vasily Pavlovich Solovyov was born on April 12 (25), 1907 in St. Petersburg in a family of peasants. Father, Pavel Pavlovich Solovyov, served as the Chief Janitor of Nevsky Prospekt. Mother, Anna Fedorovna, worked as a maid for the famous singer A. D. Vyaltseva, who gave her a gramophone and records with her songs. The pseudonym "Grey" came from a childhood nickname (due to very blond hair). IN early childhood received from his father as a gift a balalaika, which he mastered on his own and organized a trio with neighboring children (balalaika, guitar and mandolin). The first "classical" musical impressions of Solovyov-Sedoy were trips to the Mariinsky Theater, where he was taken by a cellist who lived in their house. There the boy heard The Tale of the Invisible City of Kitezh by N. A. Rimsky-Korsakov, conducted by A. Coates, performances by F. I. Chaliapin in the operas Boris Godunov by M. P. Mussorgsky and The Barber of Seville by G. Rossini.

In 1923, Solovyov-Sedoy graduated from the unified labor school. Seeing a piano for a pianist in the St. Petersburg cinema "Elephant", he began to pick up by ear famous tunes and learned to play: from 1925 he voiced film shows in clubs, worked as an accompanist in the studio rhythmic gymnastics(together with E. A. Mravinsky), pianist-improviser at the Leningrad Radio.

In 1948-1974. Solovyov-Sedoy held major administrative positions in the Union of Composers: in 1948-1964. chairman of the board of the Leningrad branch of the RSFSR IC, in 1957-1974 secretary of the USSR IC.

The post-war period (until the beginning of the 1960s) - the years of the creative flowering of Solovyov-Sedoy. The song "On the Boat" from the music for the film "The First Glove" (1946, to lyrics by V. I. Lebedev-Kumach) is one of his most heartfelt lyrical songs. The song "On the Road" from the film "Maxim Perepelitsa" (1955, lyrics by M. A. Dudin) became the most popular drill in Soviet army. In the year the composer wrote a song cycle based on the verses of A. I. Fatyanov “The Tale of a Soldier”, the song from which “Where are you now, fellow soldiers?” became a favorite among Soviet veterans. Song to the verses of M. L. Matusovsky from documentary film“In the days of the Spartakiad” (1956, directors I. V. Venzher and V. N. Boikov) “Moscow Nights” became musical symbol the USSR throughout the world; its incipit from 1964 to the present day is the call sign of the state radio station Mayak. K VI International festival youth and students in Moscow (1957) Solovyov-Sedoy wrote the song “If the guys of the whole earth” (verses by E. A. Dolmatovsky). The last masterpiece of the composer is “Evening Song” (, to the verses of A. D. Churkin; known by the initial words as “The City on the Free Neva ...”), which became unofficial anthem Leningrad.

Among other works of Solovyov-Sedoy, the ballet “Russia has entered the port” (), the operettas “The Most Treasured” (Moscow Operetta Theater,), “Olympic Stars” (Leningrad Theater of Musical Comedy,), “Eighteen Years” (, ibid. ), “At the native pier” (, Odessa Theater of Musical Comedy), “Once upon a time there was Shelmenko” (, Ternopil Theater of Musical Comedy).

Creativity and recognition

origins musical style Solovyov-Sedogo, on the one hand, in the folk songs of the Pskov region, on the other hand, in the urban song and urban romance of the early 20th century. A clear and precise contour of the melody (“humming”, characteristic of some songs by Solovyov-Sedoy, is typologically related to the American “crooning”, but unlike it has a pronounced Russian intonation), artless rhythm (as in the case of “Moscow Evenings”, where Solovyov- Sedoy ignored Matusovsky's "folk" pentasyllable, "levelled" it in chant) and diatonic harmony with rare interspersed with altered chords ("On the boat", v. 14 and 30; "Hear me, good one", v. 7) and modalisms (" Paths-paths" to Fatyanov's verses, vols. 11-12) provided a public reception of his music. Lifetime copies of Solovyov-Sedoy records amounted to 2.5 million copies. The songs of Solovyov-Sedogo were performed by the leading artists of the Soviet stage: M. N. Bernes, V. A. Bunchikov (the first performer of the song "Evening on the Road"), G. P. Vinogradov, V. S. Volodin (the first performer of the songs "Temper" and “Everything needs skill” from the film “The First Glove”), V. A. Nechaev, G. K. Ots (including translated into Estonian), E. S. Piekha, V. K. Troshin (first a singer " Moscow Nights”), L. O. Utyosov, E. A. Khil, K. I. Shulzhenko and others.

Awards and prizes

Memory

• In 1982, in honor of Solovyov-Sedoy, was released Postage Stamp"Post of the USSR"
• In 2007, the Bank of Russia issued a silver coin dedicated to the composer
• In St. Petersburg, on the house where the composer lived in 1950-1979, a memorial plaque was installed.
• From 1981 to 2001, the Variety Symphony Orchestra of the Leningrad Television and Radio was named after Solovyov-Sedoy

Addresses in St. Petersburg - Petrograd - Leningrad

• 25.04.1907 - 1929 - tenement house- Nevsky prospect, 139;
• 1929 - autumn 1935 - tenement house of Countess Saltykova - Zhukovsky street, 20, apt. 7;
• autumn 1935-1941 - apartment building - 139, 25th October Avenue, apt. 49;
• 1944-1950 - tenement house - 160 October 25 Avenue, apt. 2;
• 1950 - 12/02/1979 - tenement house - embankment of the Fontanka River, 131, apt. 8.
• dacha in the village of Komarovo (St. Petersburg) on ​​Bolshoy Prospekt.

Filmography

• - Weekdays
• - Celestial slug
• - First Glove
• - Happy sailing!
• - Towards life
• - World champion
• - Once, on a wonderful day
• - Dzhigit girl
• - Good morning
• - Maxim Perepelitsa
• - She loves you!
• - Herdsman's song
• - Totally more expensive
• - Another flight
• - Tale of the newlyweds
• - Watch out, grandma!
• - Foal
• - In difficult times
• - Ivan Rybakov
• - Spring chores
• - Don story
• - When the song doesn't end
• - Volley "Aurora"
• - First visitor
• - Virineya
• - Lyubov Yarovaya
• - Shelmenko-batman
• - Open book
• - Unknown heir
• - Sweet woman
• - Taiga story

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Notes

Links

• Nikita Bogoslovsky

Site "Heroes of the Country".

An excerpt characterizing Solovyov-Sedoy, Vasily Pavlovich

One of the most tangible and advantageous deviations from the so-called rules of war is the action of scattered people against people huddled together. This kind of action always manifests itself in a war that takes folk character. These actions consist in the fact that, instead of becoming a crowd against a crowd, people disperse separately, attack one by one and immediately flee when they are attacked by large forces, and then attack again when the opportunity presents itself. This was done by the Guerillas in Spain; this was done by the highlanders in the Caucasus; the Russians did it in 1812.
A war of this kind was called guerrilla warfare, and it was believed that by calling it that, its meaning was explained. Meanwhile, this kind of war not only does not fit any rules, but is directly opposed to the well-known and recognized as an infallible tactical rule. This rule says that the attacker must concentrate his troops in order to be stronger than the enemy at the time of the battle.
Guerrilla warfare (always successful, as history shows) is the exact opposite of this rule.
This contradiction arises from the fact that military science accepts the strength of troops as identical with their numbers. Military science says that the more troops, the more power. Les gros bataillons ont toujours raison. [Law is always on the side of large armies.]
In saying this, military science is like that mechanics, which, based on the consideration of forces only in relation to their masses, would say that the forces are equal or not equal to each other, because their masses are equal or not equal.
Force (momentum) is the product of mass and speed.
In military affairs, the strength of an army is also the product of the mass by something like that, by some unknown x.
Military science, seeing in history countless examples of the fact that the mass of troops does not coincide with strength, that small detachments defeat large ones, vaguely recognizes the existence of this unknown factor and tries to find it either in geometric construction, or in armament, or - the most ordinary - in the genius of the generals. But substituting all these multiplier values ​​does not produce results consistent with the historical facts.
And meanwhile, one has only to abandon the established, for the sake of the heroes, false view of the reality of the orders of the highest authorities during the war in order to find this unknown x.
This is the spirit of the army, that is, a greater or lesser desire to fight and expose themselves to the dangers of all the people who make up the army, completely regardless of whether people fight under the command of geniuses or non-geniuses, in three or two lines, with clubs or guns firing thirty once a minute. The people who have the greatest desire to fight will always put themselves in the best conditions for a fight.
The spirit of the army is a multiplier for the mass, which gives the product of force. To determine and express the meaning of the spirit of the army, this unknown multiplier, is the task of science.
This task is possible only when we stop arbitrarily replacing the value of the entire unknown X with the conditions under which force is manifested, such as: the orders of the commander, weapons, etc., taking them as the value of a multiplier, and recognize this unknown in all its wholeness, that is, as a greater or lesser desire to fight and endanger oneself. Then only, expressing the known equations historical facts, from a comparison of the relative value of this unknown one can hope to determine the unknown itself.
Ten people, battalions or divisions, fighting with fifteen people, battalions or divisions, defeated fifteen, that is, they killed and took prisoner all without a trace and themselves lost four; therefore, four were destroyed on one side, and fifteen on the other. Therefore, four was equal to fifteen, and therefore 4a:=15y. Therefore, w: g/==15:4. This equation does not give the value of the unknown, but it does give the relation between two unknowns. And from subsuming various historical units (battles, campaigns, periods of wars) under such equations, series of numbers will be obtained in which laws must exist and can be discovered.
The tactical rule that it is necessary to act in masses during the offensive and separately during the retreat, unconsciously confirms only the truth that the strength of the army depends on its spirit. In order to lead people under the core, more discipline is needed, achieved only by movement in the masses, than in order to fend off attackers. But this rule, in which the spirit of the army is overlooked, constantly turns out to be wrong and especially strikingly contradicts reality where there is a strong rise or fall in the spirit of the army - in all people's wars.
The French, retreating in 1812, although they should have defended themselves separately, tactically huddle together, because the spirit of the army has fallen so that only the mass holds the army together. The Russians, on the contrary, tactically should have attacked en masse, but in reality they are splitting up, because the spirit is raised so that individuals strike without the orders of the French and do not need coercion in order to expose themselves to labor and danger.

The so-called guerrilla war began with the entry of the enemy into Smolensk.
Before the guerrilla war was officially accepted by our government, already thousands of people of the enemy army - backward marauders, foragers - were exterminated by the Cossacks and peasants, who beat these people as unconsciously as dogs unconsciously bite a runaway rabid dog. Denis Davydov, with his Russian intuition, was the first to understand the significance of that terrible club, which, without asking the rules of military art, destroyed the French, and he owns the glory of the first step in legitimizing this method of war.
On August 24, the first partisan detachment of Davydov was established, and after his detachment others began to be established. The further the campaign progressed, the more the number of these detachments increased.
The partisans destroyed the Great Army in parts. They picked up those falling leaves that fell of themselves from a withered tree - the French army, and sometimes shook this tree. In October, while the French fled to Smolensk, there were hundreds of these parties of various sizes and characters. There were parties that adopted all the methods of the army, with infantry, artillery, headquarters, with the comforts of life; there were only Cossack, cavalry; there were small, prefabricated, foot and horse, there were peasants and landlords, unknown to anyone. There was a deacon head of the party, who took several hundred prisoners a month. There was an elder, Vasilisa, who beat hundreds of Frenchmen.
The last days of October was the time of the peak guerrilla war. That first period of this war, during which the partisans, themselves surprised at their audacity, were afraid at any moment to be caught and surrounded by the French and, without unsaddling and almost dismounting their horses, hid through the forests, waiting for every minute of the chase, has already passed. Now this war had already taken shape, it became clear to everyone what could be done with the French and what could not be done. Now only those commanders of the detachments, who, according to the rules, went away from the French with headquarters, still considered many things impossible. The small partisans, who had long ago begun their work and were closely looking out for the French, considered possible what the leaders of large detachments did not even dare to think about. The Cossacks and the peasants, who climbed between the French, believed that now everything was possible.
On October 22, Denisov, who was one of the partisans, was with his party in the midst of partisan passion. In the morning he and his party were on the move. He spent the whole day through the forests adjacent to high road, followed a large French transport of cavalry items and Russian prisoners, separated from other troops and under strong cover, as it was known from scouts and prisoners, heading for Smolensk. This transport was known not only to Denisov and Dolokhov (also a partisan with a small party), who walked close to Denisov, but also to the heads of large detachments with headquarters: everyone knew about this transport and, as Denisov said, they sharpened their teeth on it. Two of these great detachment commanders - one Pole, the other German - almost at the same time sent an invitation to Denisov to join his detachment in order to attack the transport.
- No, bg "at, I myself have a mustache," said Denisov, after reading these papers, and wrote to the German that, despite the sincere desire that he had to serve under the command of such a valiant and famous general, he must deprive himself of this happiness, because he had already entered under the command of a Pole general, but he wrote the same to the Pole general, notifying him that he had already entered under the command of a German.
Having ordered in this way, Denisov intended, without reporting to the top commanders, together with Dolokhov, to attack and take this transport with his own small forces. The transport went on October 22 from the village of Mikulina to the village of Shamsheva. On the left side of the road from Mikulin to Shamshev there were large forests, in places approaching the road itself, in places moving away from the road by a verst or more. For a whole day through these forests, now going deep into the middle of them, then leaving for the edge, he rode with the party of Denisov, not losing sight of the moving French. In the morning, not far from Mikulin, where the forest came close to the road, Cossacks from Denisov's party captured two French wagons with cavalry saddles that had become muddy and took them into the forest. From then until evening, the party, without attacking, followed the movement of the French. It was necessary, without frightening them, to let them calmly reach Shamshev and then, connecting with Dolokhov, who was supposed to arrive in the evening for a meeting at the guardhouse in the forest (a verst from Shamshev), at dawn fall from both sides like snow on his head and beat and take them all at once.
Behind, two versts from Mikulin, where the forest approached the road itself, six Cossacks were left, who were supposed to report it immediately, as soon as new French columns appeared.
Ahead of Shamshev, in the same way, Dolokhov had to explore the road in order to know at what distance there were still other French troops. During transport, one thousand five hundred people were supposed. Denisov had two hundred men, Dolokhov could have as many. But the superiority of numbers did not stop Denisov. The only thing he still needed to know was what exactly these troops were; and for this purpose Denisov needed to take a tongue (that is, a man from an enemy column). In the morning attack on the wagons, things happened with such haste that the French who were with the wagons were all killed and only the drummer boy was captured alive, who was backward and could not say anything positively about what kind of troops were in the column.
Denisov considered it dangerous to attack another time, so as not to alarm the entire column, and therefore he sent the muzhik Tikhon Shcherbaty, who was with his party, forward to Shamshevo - to capture, if possible, at least one of the French advanced quartermasters who were there.

It was an autumn, warm, rainy day. Sky and horizon were the same color of muddy water. Now it seemed to fall like a mist, then suddenly it allowed a slanting, heavy rain.
On a thoroughbred, thin horse with tucked-up sides, in a cloak and hat, from which water flowed, Denisov rode. He, like his horse, which squinted its head and pursed its ears, frowned at the slanting rain and peered anxiously ahead. His face, emaciated and overgrown with a thick, short, black beard, looked angry.
Next to Denisov, also in a cloak and hat, on a well-fed, large bottom rode a Cossack esaul - Denisov's employee.
Esaul Lovaisky, the third, also in a cloak and hat, was a long, flat, white-faced, fair-haired man, with narrow bright eyes and a calmly self-satisfied expression both in his face and in his seat. Although it was impossible to say what was the peculiarity of the horse and the rider, but at the first glance at the esaul and Denisov it was clear that Denisov was both wet and awkward - that Denisov was a man who mounted a horse; whereas, looking at the esaul, it was clear that he was just as comfortable and at ease as always, and that he was not a man who mounted a horse, but a man together with a horse, one being increased by double strength.
A little ahead of them walked a sodden peasant conductor, in a gray caftan and white cap.
A little behind, on a thin, thin Kyrgyz horse with a huge tail and mane and with bloody lips, rode a young officer in a blue French overcoat.
A hussar rode next to him, carrying a boy in a tattered French uniform and a blue cap behind him on the back of his horse. The boy held on to the hussar with his hands, red from the cold, moved, trying to warm them, his bare feet, and, raising his eyebrows, looked around him in surprise. It was the French drummer taken in the morning.
Behind, in threes, fours, along a narrow, limp and rutted forest road, hussars were drawn, then Cossacks, some in a cloak, some in a French overcoat, some in a blanket thrown over their heads. The horses, both red and bay, all looked black from the rain streaming from them. The necks of the horses seemed strangely thin from wet manes. Steam rose from the horses. And clothes, and saddles, and reins - everything was wet, slippery and slushy, just like the earth and the fallen leaves with which the road was laid. People sat ruffled, trying not to move in order to warm the water that had spilled to the body, and not to let in the new cold water that was leaking under the seats, knees and necks. In the middle of the stretched-out Cossacks, two wagons on French and saddled Cossack horses rumbled over the stumps and branches and grunted along the water-filled ruts of the road.

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December 3 - Vasily SOLOVIEV-SEDOY

This composer composed many wonderful songs, but among them there is one that made his name immortal. After her, this composer could no longer compose anything and rest on his laurels all his life. But at first, most of the composer's colleagues did not accept this song, calling it unsuccessful. But when the song went to the people and it was sung in almost every house, justice triumphed. The song was called "Moscow Nights".

Vasily Solovyov-Sedoy was born on April 25, 1907 in St. Petersburg into a peasant family. His parents were from the Pskov region, and moved to St. Petersburg for a better life. The father of the future composer got a job as a senior janitor in house number 139 on Staro-Nevsky Prospekt, his mother was a maid at the famous pop singer Anastasia Vyaltseva. The Solovyov family was musical: his father played several musical instruments (accordion, balalaika), his mother loved to sing and dance. So little Vasya passed his first music universities in the circle of his relatives. He especially liked to listen to the gramophone, which Vyaltseva awarded his mother for good service. Among the records that were in the house of the Solovyovs, the records of Vyaltseva herself prevailed - on them she sang her famous songs: “They won’t snatch you from me”, “Oh, let the world condemn”, “Ah-yes three”, “Under your charming caress”, etc.

Of the musical instruments, Vasily preferred the balalaika, on which he learned to play in early childhood (he will fall in love with the accordion as an adult). Then, when he was 9 years old, he became interested in the guitar, he learned to play it at special courses. A little later, the piano will enter his life, which he will love thanks to the cinema. In the years civil war Vasily will become a passionate film fan and will not get out of the cinematograph for days on end, where films with the participation of Vera Kholodnaya and Charlie Chaplin were played to the music of pianists playing the piano. Impressed by these views, in 1919 Vasily began to take piano lessons from pianist Boris Kamchatov. Thanks to these lessons, Solovyov began to earn his first musical fees by participating in various club evenings ( special success enjoyed his improvisation on the theme of the romance "Pair of bays"), playing in cinemas. In 1925, Solovyov got a job as a pianist-improviser at the Leningrad Radio and for three years accompanied at morning gymnastics sessions.

It is worth noting that Vasily's older brother Sergei also showed great promise as a musician, and his father advised him to follow in the footsteps of his younger one - to enter music school. But Sergei did not want this, saying: “That I, like kids, will run around with a music folder!” As a result, he got a job as a dispatcher in one of the institutions. There he met a company of young idlers who spent all their evenings drinking and having fun. When Sergei ran out of money, he committed embezzlement. And he went to jail for three years. It seemed to many then that his fate was broken forever. But he still managed to get on his feet: he stopped drinking, fought at the front. By the will of fate, both brothers will leave the life almost simultaneously.

In 1929, Solovyov entered the Central Musical College, having a wealthy background. practical experience, but with an extreme paucity of theoretical knowledge. However, there were a lot of people like him in those years: young and daring people who dreamed of building a new society. But this irrepressible energy often went sideways to their owners: they wanted to achieve everything too quickly and did not want to study for a long time. So Solovyov, having entered a technical school, and then to the conservatory in the composition class with Pyotr Ryazanov, began to neglect some disciplines and, as a result, received a diploma later than everyone else - due to a failure in a foreign language. However, this was the case not only with Solovyov, but also with many others. famous musicians who studied with him: I. Dzerzhinsky, V. Bogdanov-Berezovsky, B. Bitov and others.

Despite the fact that the thirties were a time of rapid composer ups, Solovyov walked slowly towards his triumph. His path to glory was a leisurely process of accumulating skills, hidden behind external nonchalance. And while the names of some of his fellow peers - Dmitri Shostakovich or Iosif Dzerzhinsky - were already thundering with might and main throughout the country, no one knew about Solovyov yet.

The first fame came to Solovyov in 1936, when two of his songs received prizes at the Leningrad competition of mass songs: “Parade” and “Song of Leningrad”. And the song "The Death of Chapaev" was published on the pages of the newspapers "Change" and "Red Baltic Fleet", which was an indicator of its great success with listeners. However, it was still far from national recognition and glory. In those years, Isaak Dunaevsky was considered a composer whose songs were sung by the whole country. Being only six years younger than Solovyov, he managed to soar so rapidly to the very top of the pop Olympus that he seemed to all his colleagues a real master. It is no coincidence that Dunaevsky and his constant co-author, the poet Lebedev-Kumach, were the first of the musicians who were awarded high government awards: the Order of the Red Banner of Labor.

In those years, Solovyov worked hard, trying to achieve the glory of his own colleagues, with whom he studied together at the conservatory. For example, after the success of Dzerzhinsky's opera The Quiet Flows the Don, he tries to create the opera Friendship, and he takes Mikhail Bulgakov himself as a co-author. However, the authors did not go further than writing a libretto, and the opera about the friendship of collective farmers and border guards never appeared.

At the very end of the 1930s, Solovyov wrote the ballet Taras Bulba, which was staged by two theaters at once: the Bolshoi Theater in Moscow and the Opera and Ballet Theater in Leningrad. But this production did not have much success. As it was written about the author of the ballet in one of the articles: “The composer is not without talent, but he does not have the data of a musical playwright in order to take on a monumental stage canvas.” However, it was this ballet that revealed to the musical world the new name of the composer - Solovyov-Sedoy (this name appeared on all posters for Taras Bulba).

The composer met his wife Tatiana Ryabova in the late 1930s. It happened in the Crimea, in Sudak, where both of them loved to relax. Their first meeting took place on the beach, where Tatyana (she was a pianist) came with the singer Ricci Chertkova, and Solovyov-Seda with friends - composers Iosif Dzerzhinsky and Nikolai Gan. From the very first meeting, friendly relations developed between the young people, and they spent the entire vacation together. And when the time came to part (the term of the Solovyov-Sedoy voucher expired a little earlier), the unexpected happened: the composer decided to stay in the Crimea as a “savage” so as not to be separated from Tatiana. He got a job as a concert host, and began to live in one of the two houses intended for the members of the artistic team.

Returning to their native Leningrad, the young continued their meetings. And two years later they got married.

Real glory came to Solovyov-Sedom in a dashing wartime. Like most of his compatriots, filled with fierce hatred for the enemy, he was ready to devote all his strength to the onset of an early victory and therefore worked tirelessly. This hatred of the enemy gave birth to an unprecedented inspiration in the composer, which became the reason for his subsequent triumph. As his biographers later wrote: “In a harsh and courageous time, Solovyov-Sedoy got rid of hesitation, slowness. Courage - a sign of military times - made him recklessly bold, and the liberated fantasy went in the direction characteristic of his personality, his look.

Already at the end of the summer of 1941, Solovyov-Sedoy wrote his first song, which sounded on all fronts - "Play, my button accordion." And six months later, another song was written, which was much more successful - “Farewell, beloved city” (“Evening on the roadstead”). The composer performed this song in March 1942 in a dugout near Rzhev for the fighters of the Kalinin Front, and a few days later, after broadcasting on the radio, the whole country was already singing it. The song was taken into their repertoire by several well-known performers at once: the duet Vladimir Bunchikov - Vladimir Nechaev, Claudia Shulzhenko.

In the fall of 1942, Solovyov-Sedoy, together with his family - his wife, daughter and wife's parents - left Leningrad and went to Orenburg. There he soon met the poet Alexei Fatyanov, with whom they brought to light many real masterpieces of songwriting. The first such songs were "Nightingales" and "On a sunny meadow."

In April 1943, Solovyov-Sedoy was summoned to Moscow. The authorities decided to gradually collect in one place the artistic personnel scattered by the evacuation different corners countries. Solovyov-Sedoy settled in the Moscow Hotel and almost immediately set to work. In the same days, Solovyov-Sedoy finds his first official award - the Stalin Prize for the best works war years: "Play, my button accordion", "Evening on the roadstead", "Song of vengeance".

Even before the war, in the late 30s, Solovyov-Sedoy began to collaborate with cinema, but the songs he wrote for some films were not very successful. The situation is quite different after the war. At the very beginning of 1946, the composer wrote two songs for the comedy "Heavenly slug", which instantly become all-Union hits. We are talking about the songs "It's time to go-road" and "Because we are pilots." A year later, Solovyov-Sedoy writes another masterpiece - the song "On the Boat", which sounds in the film "The First Glove".

However, the composer also had failures. For example, "Song of the Krasnodontsy", written under the influence of A. Fadeev's novel "The Young Guard", did not have much success with the audience. She was even criticized for the fading of the melody, the absence of individual signs of Solovyov's "handwriting". Critics noted that it was strange to know that this song was written by a composer who, in terms of fame, caught up with Dunayevsky himself.

Apparently, under the impression of such publications, Solovyov-Sedoy from that moment will pay less and less attention to civilian songs, switching exclusively to lyrics. As a result, he wrote such songs as: “Where are you now, brother-soldiers?”, “We haven’t been at home for a long time”, “A guy is riding a cart”, “Paths-paths”, “Suffering”. In April 1947, on the eve of the 40th anniversary of Solovyov-Sedogo, he will be awarded the second Stalin Prize. A year later, he will replace Dmitry Shostakovich as chairman of the Leningrad Composers' Organization. True, the new position will not have a very beneficial effect on the creative potential of the composer. Within a few months, while he will delve into the problems of the new position, he will write several songs that even Solovyov-Sedoy himself considered unsuccessful: “Let's say goodbye, guys, to the father-commander”, “The sun is rising”, “Stop, who's coming? » Some of Solovyov-Sedoy's fellow ill-wishers even rubbed their hands with pleasure: they say, the composer completely wrote himself. Suddenly, at the end of the 48th, the country receives a new masterpiece of the creative tandem Vasily Solovyov-Sedoy - Alexei Fatyanov, the song “Where are you, my garden?”.

In 1950, Solovyov-Sedoy became a candidate for deputy of the Supreme Soviet of the USSR, which loaded him even more on a public line. And there is even less time for creativity. Therefore, the composer did not release very many new songs in those years. And there are not many masterpieces among them either. The composer writes one of them in 1954 for the film "Maxim Perepelitsa": this is the song "Field Mail" ("On the Road"). And two years later, a work is born that again makes the whole country talk about the genius of its creator. Although at first the fate of this song was very difficult.

In 1956, the Spartakiad of the Peoples of the USSR was held in the country, and during its holding, documentary filmmakers had to shoot a film called “In the days of the Spartakiad”. It was for this tape that Solovyov-Sedoy and his new co-author, the poet Mikhail Matusovsky, were supposed to write a song. The composer went to his dacha in Komarovo and quickly wrote music. Then the text appeared.

However, when the film was released on the screens of the country, the musical community met "Moscow Evenings" with hostility, calling it unsuccessful. The strangest thing is that the composer himself, for some reason, also came to the same conclusion. And when in the summer of 1957 during world festival young people and students in Moscow, this song was supposed to be performed at the International Song Contest, Solovyov-Sedoy did not even come there, believing that none of the awards would shine for Moscow Evenings. And what was his surprise when he was suddenly informed that the song was awarded the First Prize and the Big Gold Medal. From that moment on, a truly triumphal procession of this song began, not only in its homeland, but also far beyond its borders. Performed by Vladimir Troshin, “Moscow Evenings” became a kind of calling card the world's first state of workers and peasants. In 1959 Solovyov-Sedom was awarded the Lenin Prize.

In the 1960s Soloviev-Sedoy worked hard and actively. In those years, operetta came into fashion, so the composer could not ignore this genre. And in ten years he composed seven operettas. However, none of them had much success. In 1964, the attempt to create music for the ballet "Festival" also ended in failure, after which Solovyov-Sedoy no longer wrote ballets.

After the triumphant success of "Moscow Evenings", Solovyov-Sedoy wrote more than a dozen songs, but none of them could compare with either "Evenings" or other songs of the composer created earlier. Therefore, in those years Soviet stage fashion was already dictated by other composers, from a galaxy of young people: Oscar Feltsman, Arkady Ostrovsky, Alexandra Pakhmutova, Yan Frenkel, Andrey Eshpay, Arno Babadzhanyan, Veniamin Basner, Vladimir Shainsky, Alexander Zatsepin, Mikael Tariverdiev, Mark Fradkin.

However, the authority of Solovyov-Sedoy in the music world is still indisputable. He occupies several high positions at once: he is the secretary of the Union of Composers of the USSR (since 1957), the secretary of the Union of Composers of the RSFSR (since 1960). He performs a lot and often at various forums of the musical community, where he speaks very critically about many phenomena in the world of music. For example, in 1968 he criticizes bards, in particular Vladimir Vysotsky: “I am not against the guitar, not against amateur performances, not against minstrels and bards. But I am resolutely against imposing tongue-tied tongues, thieves' vocabulary, hoarse whispers, musical primitives on our youth... thieves friendship is a natural disaster. They imitate it, mistaking it for the latest fashion statement, and the force of the detonation becomes destructive.

And here is another excerpt from the speech of Solovyov-Sedoy, which is very relevant even today: “Abroad they write and talk a lot about“ mass culture ”, about the fact that the genuine culture of Raphael and Beethoven, Shakespeare and Petrarch is alien and inaccessible to the people, that people need Beatles, comics, digests, westerns, that is, all that surrogate art that is easily digested, easily stupefied and easily fooled. Barbaric attempts to retell Hamlet on five pocket-sized pages or Odyssey on three, to give drawings with short dialogues like a machine-gun burst instead of a novel, story or short story, jazz screams instead of painting - all these are manifestations of the famous and sinister " mass culture“… I am not against anyone personally. I am against the propaganda of what is denied by the whole system of our life.

In the mid-70s, Solovyov-Sedoy's health deteriorated significantly. He had an aggravated vascular disease, and he was in the hospital endlessly. The last time he landed there was in the early autumn of 1979. And at the same time with his brother Sergei, who undermined his health in mature years when he abused alcohol. In recent years, he no longer drank, but it was too late - addiction sapped his strength.

The brothers were in different hospitals, and in order not to upset them, they were not told anything about each other's illness. Solovyov-Sedoi could not walk, and the only thing he could do was finger the blanket like a keyboard. Seeing this, his relatives even tried to give him the opportunity to work at least a little: they invented coasters, music stands. But the composer had no strength left. And finish your last work- the children's opera "Terem-Teremok" - he was no longer destined.

Solovyov-Sedoy died December 2, 1979, outliving his older brother by almost a month: Sergey died on the anniversary of October revolution, November 7th.

December 5 - Alexander KAYDANOVSKY

This actor starred in the most famous directors Soviet cinema, was extremely famous, but always stood apart in the line of stars of Russian cinema. Playing in the cinema of daring and independent people, he real life was the same: often, trying to defend his independence, he quarreled with colleagues and directors, severed ties with friends, left his beloved women. Much later it turns out that each of his steps left a deep scar on his heart. As a result, at the age of 49, this heart will not withstand the third heart attack.

Alexander Kaidanovsky was born on July 23, 1946 in Rostov-on-Don into a working-class family. When Alexander was little, his parents divorced, and the boy lived first with his mother, and then moved to live in new family father. This disorder, the inability to live in a normal and friendly family had a strong impact on the character of Alexander: on the one hand, he matured early, on the other hand, his desire for independence will make his character explosive, impulsive. Because of this, in the end, his personal fate will not work out.

At school, Kaidanovsky did not shine with great success, and when he graduated from the 8th grade, he entered the Dnepropetrovsk Welding College named after B. Paton. He acted more out of hopelessness than out of vocation: his dream was to go somewhere far away from his parents, so as not to sit on their necks. However, study at the technical school did not last long. A year later, in 1961, Kaidanovsky left him and returned to his native Rostov. There he soon entered the art school.

While still a second-year student, Kaidanovsky suddenly got married. His wife was his age, Irina Bykova, who was engaged in a drama club and was also going to become an actress in the future. Their acquaintance happened right on the stage. Alexander was invited to their drama club as an actor on leading role in a play where Irina played his beloved. As a result, as often happens, their stage love grew into a real one. Their romance lasted more than two years, but Alexander was in no hurry to make a marriage proposal. He was afraid to repeat the fate of his parents, who were never able to save the family, although at first they also loved each other very much. Instead, Kaidanovsky once announced to Irina that he was going to go to Moscow to study as an artist already there. “Rostov is not the city where you can make a career,” he explained to his beloved his decision. Irina was ready to go with him, but Alexander dissuaded her, explaining that he would call her later - when he could get settled in a new place. So in the summer of 1965 he ended up in Moscow, where from the very first entry he entered the Moscow Art Theater School.

Kaidanovsky did not study at the Studio School for long - only a few months. Then he quarreled with one of the leaders and transferred to the Shchukin school. He lived in a hostel, where his roommates were the future stars of Soviet cinema Leonid Filatov, Boris Galkin and Vladimir Kachan. Filatov later spoke of Kaidanovsky as follows: “We were friends with him. Although it was a difficult friendship, and he was a difficult person, I admired him, looked up from below. Kaidanovsky was an incredible person - he could virtuously swear, chat in gangster jargon, and he could talk with you all night about literature, about things that not a single specialist knew here ... "

Unlike most of his refined peers, who studied with him at the same school, Kaidanovsky was known as a bold and fearless person. Everyone knew that he was not afraid of anyone: neither teachers, nor street hooligans, and if possible, he could well stand up for himself. And one day his friends were able to see with their own eyes the courage of Kaidanovsky.

It was in the fourth year. Kaidanovsky, in the company of his roommates - Filatov, Galkin and Kachan - returned to the hostel at night. Their path ran through the famous Maryina Roscha, which in those years was known as one of the most criminal places in the capital. Not far from the Rizhsky railway station, six guys suddenly approached them. In principle, four friends could well fight off the hooligans, but those in their hands had knives, which radically changed the situation. As a result, the only way to escape could only be flight. However, Kaidanovsky acted differently. He walked over to the guy who pulled out the knife first and took hold of the blade with his bare hand. Blood splattered on the ground, but Kaidanovsky did not even blink an eye and continued to squeeze the blade harder and harder. And there was something so terrible in his face that the guys gave in and preferred to retreat.

At the school, Kaidanovsky was considered one of the most talented students, and much earlier than many of his classmates he began to be invited to the cinema. He played his first role in the film "The Mysterious Wall". And although the role was tiny - he played a young researcher, but a start has been made. Soon he was invited to his film adaptation of Anna Karenina by the patriarch of Soviet cinematography Alexander Zarkhi. Kaidanovsky got the role of Jules Lando. Then the young actor starred in another film adaptation: in "First Love" by I. Turgenev.

Therefore, when Kaidanovsky graduated from college in 1969, he was already known in theater circles as a promising actor. As a result, he was taken to the troupe of the famous Vakhtangov Theater. And they took it not just as an ordinary extra, but as a contender for the role of Prince Myshkin in the play "The Idiot". However, Kaidanovsky did not have a chance to play this role. As it turned out, the first performer of the role, famous actor Nikolai Gritsenko was not going to cede it to anyone and, having barely learned that some yesterday's student was claiming it, he did everything in his power to prevent this from happening. They say that even the sick Gritsenko got out of bed and went to the theater - just not to give the role to another. As a result, the young actor had to play roles from the category of “served to eat”.

Meanwhile, the personal life of the actor did not stand still. Having received a small room in the basement on the Arbat, Kaidanovsky summoned Irina to him. She was then already pregnant from him, so the young people sealed their relationship officially. On August 26, 1970, their daughter Dasha was born. After the birth of a child, it seemed to the young that the authorities would meet them halfway and give them better housing, but this did not happen. Therefore, for several more years they had to live in this semi-basement room, teeming with rats. According to eyewitnesses, housing looked terrible. It was below ground level, with a tiny kitchen with a sloping ceiling, the ceiling was formed by a staircase, and in the part where the stairs stuck into the floor, there was something like a closet. Oddly enough, but Kaidanovsky even found a reason to joke. When friends came to visit him, he took them around his "mansions" and very funny, in the spirit of Dostoevsky, described the dwelling.

Having become an actor in a prestigious theater, Kaidanovsky led a bohemian lifestyle. He invited fellow actors to his house (fortunately, his room was next to the Vakhtangov Theater), he himself disappeared for days in different companies. Sometimes he didn’t even spend the night at home, which his young wife could not like. Kaidanovsky's earnings at that time were small, and one-time invitations to shoot in different pictures were random. Therefore, the family was frankly poor. But Kaidanovsky paid little attention to this, continuing to live the way he liked. And he reacted nervously to all the remarks of his wife.

The explosive and impulsive nature of Kaidanovsky once nearly sent him to jail. It happened in 1970, shortly before the birth of his daughter. Then the premiere of the television play “Drama on the Hunt” based on A. Chekhov was shown on Central Television, where Kaidanovsky played Count Karneev. Shortly after the show, a group of artists involved in the TV show - Vladimir Samoilov, Yuri Yakovlev and Alexander Kaidanovsky - decided to "wash" this business. To this end, they went to a very popular restaurant among Muscovites near the River Station. The party was in full swing when Kaidanovsky had to move away. In the corridor, an elderly warrior suddenly became attached to him, who began to claim that Kaidanovsky some time ago ... stole white from him. As a result, a fight ensued, from which the younger Kaidanovsky emerged victorious. But this victory was pyrrhic. The guard sued him.

The trial of Kaidanovsky took place a month later. Since the leadership of the Vakhtangov Theater did not want to protect the young actor, Mikhail Ulyanov, the leading figure of the theater, took on this mission. It was he who appeared in court as public defender Kaidanovsky. If it were not for this, the actor would probably have been jailed for two years for hooliganism, since at that time hooligans were not particularly spared. And so, after Ulyanov's passionate speech, the judges considered it good to forgive the defendant and gave him a suspended sentence. However, shortly after this, Kaidanovsky was forced to leave the Vakhtangov Theater.

In the early 70s, Kaidanovsky's first marriage broke up. Irina's cup of patience was filled with the betrayal of her husband, who was carried away popular actress Valentina Malyavina, who played in the same Vakhtangov. From the outside, this novel was more like a volcanic eruption - so many passions and nerves were concentrated in it. It got to the point that one day the lovers decided to voluntarily die - they cut their veins. They managed to be saved, although a little more - and the Soviet cinema would forever lose its two talented actors, and the first gossips of the capital would have an excellent opportunity to sharpen their tongues on this tragedy. After this incident, Kaidanovsky noticeably cooled off towards Malyavina, and their romance ended happily. When this happened, Kaidanovsky was already known throughout the country, having played one of his best roles in the cinema - Captain Lemke in Nikita Mikhalkov's western "Own among strangers, a stranger among his own."

Kaidanovsky got this role not by chance. Mikhalkov drew attention to him back in the mid-60s, when they studied together at the Pike. And when in 1973 Mikhalkov was allowed to make his first feature film, he decided to take all his friends and acquaintances into it, including Kaidanovsky. He was then in great shape - he served in the cavalry regiment at Mosfilm, so the role of a desperate White Guard captain who is chasing Bolshevik gold was given to him without much difficulty. And when the film was released on a wide screen in November 1974, several participants in this picture became famous at once: Yuri Bogatyrev, Konstantin Raikin and Alexander Kaidanovsky.

By the mid-70s, Kaidanovsky had already become one of the most sought-after actors in Soviet cinema. True, he was offered to play monotonous roles: either aristocrats, or White Guard officers, or even criminals, as was the case in the TV series “Experts are investigating” (case No. 6 “Blackmail”). But the actor was happy with each new role, because it not only multiplied his fame, but also brought substantial material income. But Kaidanovsky needed money. Only not for all sorts of elements of a beautiful life - cottages, cars, etc. - but for books. At that time, Kaidanovsky had an excellent library, and he brought books from everywhere where his cinematic fate threw him.

In the summer of 1974, Kaidanovsky went to the Urals, where the shooting of the action movie The Lost Expedition was to take place. His partner on the set was a young student of "Pike" Evgenia Simonova, who fell in love with Kaidanovsky almost at first sight. Returning to Moscow, they got married. And on November 5, 1976, their daughter Zoya was born. But this joyful event did not save their marriage from an imminent collapse. It was Kaidanovsky himself who was to blame for this, Once again proved that to family life was completely unfit.

It is likely that Kaidanovsky would have starred in the roles of aristocrats and White Guard officers, if director Andrei Tarkovsky had not met on his creative path in the late 70s. Considered one of the most difficult and serious directors in Soviet cinema, he managed to discern in Kaidanovsky what all his other colleagues could not do - the tragedy of an extraordinary personality, rushing about in search of his own "I". The result of this community was the film "Stalker", where Kaidanovsky played the main role. After this film, another actor, Alexander Kaidanovsky, was revealed to the world - complex and no longer able to act in ordinary films even with good directors.

In the early 80s, Kaidanovsky entered the Higher Courses for Directors under Andrei Tarkovsky. However, their union did not last long: in 84, the famous director left his homeland forever. When he sent Kaidanovsky to Moscow an invitation to star in Nostalgia, the actor was not allowed to see him: either because of “immorality” (he again got into a fight with someone in a restaurant on a drunken bench), or for ideological reasons (in the acting room). among the Polish Jew Kaidanovsky was considered a dissident). As a result, this role was played by the more trustworthy Oleg Yankovsky.

After graduating from directing courses, Kaidanovsky made the film "A Simple Death" based on Leo Tolstoy. The film turned out to be not only difficult in its plot, but also difficult in perception. Therefore, it was ranked among the elite cinema. At a festival in the Spanish city of Malaga in 1988, he was awarded one of the prizes. After that, Kaidanovsky made two more films: The Guest (1987) and The Kerosene Worker's Wife (1988), which, like his debut film, were coolly received by a wide audience. Kass was made in those years by other films: "Intergirl", "Little Vera" and other blockbusters of the perestroika years.

But as an actor Kaidanovsky allowed himself to act in films of different genres: in costume historical picture"The New Adventures of a Yankee in King Arthur's Court," detective story "Ten Little Indians." Since the early 90s, when Russian cinema switched to self-sufficiency and Kaidanovsky needed funds for new productions, he began to accept invitations from foreign directors. And in the first half of the 90s, he starred in several such films: November (Poland - France), Devil's Breath (Spain), magic shooter"(Hungary), "Confession to a Stranger" (France).

Song creativity V.P. Solovyov-Sedogo

Vasily Solovyov-Sedoy (1907-1979) Prominent Soviet Leningrad songwriter. There are over 400 of them.

from the biography Born into a family of peasants; As a child, my father gave me a balalaika and a guitar, and this is how my love for music was born; mother loved folk songs, attached her son to them; From 1925 he worked as an accompanist in silent films; In 1929 - enters the Music College;

Briefly from the biography In 1931 - Transferred to the Leningrad Conservatory; In 1936 - Graduated from the conservatory; During the war he lived in Chkalov (Orenburg); In 1948-74. – Held administrative positions in the Union of Composers.

Pre-war songs: "Parade" op. A. Gitovich "Song of Leningrad", lyrics. E. Ryvina In 1936, both songs were awarded a prize at the Leningrad competition. "Song of Leningrad"

Military songs: "Evening on the Road" op. A. Churkin "Vasya Kryuchkin" sl. V. Gusev "What are you yearning for, comrade sailor" lyrics. V. Lebedev-Kumach "Like beyond the Kama, across the river" lyrics. V. Gusev "On a sunny meadow" op. A. Fatyanova "Do not disturb yourself, do not disturb" lyrics. M. Isakovsky "Nightingales" sl. A. Fatyanova And others…

Post-war songs “We haven’t been at home for a long time” “The nights have become bright” “It’s time to hit the road” “A guy is riding a cart” “Where are you now, fellow soldiers?” (later cycle - "The Tale of a Soldier")

Friendship with a Poet A great event in his life was his meeting with the poet Alexander Fatyanov. In his poems, the composer heard Russian nature. For him, Fatyanov, like Yesenin, was a poet of the Russian soul and lyricism. Together they created 40 songs. Photo of the 40s.

The legendary song “Moscow Evenings” was written in 1956 for the film “In the days of the Spartakiad” about the first Spartakiad of the peoples of the USSR. In 1957 at the song festival, she was awarded the first prize and the Big Gold Medal. Soon it became the symbolic song of Russia and was performed all over the world. Record cover

The famous song "Because we are pilots"

Record cover from the 70s.

Solovyov-Sedoy with friends late 40s. P.B. Ryazanov and his students: Nikita Bogoslovsky, Nikolai Gan, Ivan Dzerzhinsky. (A. Fatyanov)

Features of songwriting: Sensitivity to Russian artistic word, poetic text; Always composed music based on textual content; Simplicity, beauty, harmony, melodic language.

Music for cinema Many films, among which: Heavenly slug, 1945. World Champion, 1954. "She loves you!", 1956. "Another flight", 1958 "Be careful, grandma!", 1960. "Don story", 1964 "Virineya", 1968 "The Unknown Heir", 1974 "Sweet Woman", 1976 "Taiga story", 1979

Movie posters: 1945 1954 1976

Silver coin with a face value of 2 rubles. 2007

Titles and awards: People's Artist of the USSR (1967); Hero of Socialist Labor (1975); Laureate of the Lenin Prize (1959); Laureate of the State Prizes of the USSR (1943, 1947); Awarded 3 Orders of Lenin and the Order of the Red Star.

Postage stamp 1982

Conclusions: Made a huge contribution to the development of Soviet culture; Developed song art as the basis of Russian nationality; His songs are loved and recognizable in Russia, countries former USSR, as well as all over the world; The songs rallied and helped raise the people's spirit during the war years.

References: Kremlev Yu.V.P. Solovyov-Sedoy sketch of life and creativity, l,: Soviet composer, 1960. Sohor A. “V.P. Solovyov-Sedoy, Music, 1977 Khentova S. “Soloviev-Sedoy in Petrograd-Leningrad”, Lenizdat, 1984 http://www.solowyev-sedoy.narod.ru - “V.P. Solovyov-Sedoy" http://chtoby-pomnili.com/page.php?id=623 - "What would they remember"

People's Artist of the USSR (1967)
Hero of Socialist Labor (1975)
Laureate of the Lenin Prize (1959)
Laureate of the State Prize of the USSR (1943, 1947)
Awarded 3 Orders of Lenin and the Order of the Red Star



Vasily Solovyov-Sedoy was born on April 25, 1907 in the family of Pavel and Anna Solovyovs in St. Petersburg. His parents were peasants. After serving in the tsarist army, my father left for St. Petersburg, lived in poverty for a long time and took on any job. Happiness smiled at him when he got a job as a janitor in a house on the Obvodny Canal. Vasily's mother was a native of the Pskov region, she knew many Russians folk songs and loved to sing them. These songs played a big role in the musical development of the future composer. Shortly before moving to Staro-Nevsky, Anna got a job as a maid to the famous singer Anastasia Vyaltseva.

The first musical instruments that Vasily learned to play as a boy were the balalaika (a precious gift from his father) and the guitar. In the summer, Vasya's hair completely burned out from the sun, and his father affectionately called him gray or gray. The yard boys liked the nickname "Grey" and since then Vasily has only been called that.

The cellist of the Mariinsky Orchestra lived in their house. opera house N.Sazonov. It was with his help that Vasily was introduced to great art. He managed to see and hear Fyodor Chaliapin in the operas Boris Godunov and The Barber of Seville.

Silent cinema introduced Vasily to the piano. A small movie theater "Elephant" was opened in house 139, where they played films with the participation of Buster Keaton and Vera Kholodnaya. Noticing a curiosity at the screen - a piano, Vasily begged the projectionist to allow him to try the keys and quickly picked up "The moon shines" by ear. The delighted mechanic allowed him to sit down to the instrument every morning, and Vasily undertook to carry films, helped them "scroll", and cleaned the hall. Such classes helped Vasily Pavlovich a lot, when, after the revolution and the death of his mother, he took up musical improvisation in cinemas, then accompanied gymnastics lessons in an art studio, and later also accompanied radio gymnastics broadcasts on the radio.

Vasily continued his musical education at the Third Musical College in the class of Pyotr Borisovich Ryazanov, an outstanding teacher and mentor of many Soviet composers. Solovyov-Sedoy studied at the composer department together with Nikita Bogoslovsky. At the technical school, he became friends with Ivan Dzerzhinsky and Nikolai Gan. In 1931, the entire course was transferred to the conservatory.

For the first time, Vasily Pavlovich was noticed as a composer-songwriter at the Leningrad competition of mass songs in 1936 - the first prize was awarded to his songs "Parade" to the words of A. Gitovich and "Song of Leningrad" to the words of E. Ryvina. The songs of Solovyov-Sedoy were sung famous singers: Irma Jaunzem in 1935 at the decade Soviet music in Moscow, she sang his song "The Death of Chapaev", Leonid Utyosov sang for the first time his songs "Two Friends Were Serving" and "Cossack Cavalry". On June 22, 1941, the war began, and the very next day the poetess L. Davidovich brought Solovyov-Sedoy poems called "Dear Outpost". They were written before the war and corrected, so that the necessary couplet turned out:

But the evil enemy flock
Above us, like a cloud, soared
Outpost dear
Rose for the Motherland

On July 24, Solovyov-Sedoy composed the melody of this song, came to his friend, the actor Alexander Borisov, they found an accordion player, and on the same evening the song sounded from loudspeakers over the city.

The sensitivity of Solovyov-Sedoy to the Russian artistic word, especially the poetic one, was unique.By 1935, there were twenty-four works created by Solovyov-Sedov. Among them was music for the theater, lyric poem for symphony orchestra, pieces for violin and piano, piano concerto. But none of his songs became mass. However, their author was noticed by Dunayevsky, who was able to discern an outstanding musical gift in Solovyov-Sedom.

During the war, Solovyov-Sedoy created many wonderful songs: "Evening on the roadstead", "Vasya Kryuchkin", "What do you yearn for, comrade sailor", "Like beyond the Kama, across the river", "On a sunny meadow", "Do not disturb don't disturb yourself" and other works.

In August 1941, Solovyov-Sedogo, together with the poet Alexander Churkin, was sent to the port, where, like thousands of Leningraders, they pulled logs and cleaned up the territory in order to reduce the risk of fire from incendiary bombs. At the end of a long labor day they sat down to rest on board the unloaded barge. It was a late Leningrad evening. Nothing reminded of the war. In the bay, shrouded in a blue haze, a ship stood in the roadstead. Quiet music could be heard from it: someone was playing the button accordion. When they went home, the composer said: "Wonderful evening. Worth the song." Upon returning home, Churkin sat down to write poetry, and Solovyov-Sedoy - music. Three days later, a new song was born - "Evening on the raid". The composer and the poet carried her to the house of composers. There the song was found to be too calm, even mournful and, as was said, not meeting the requirements of wartime.

Solovyov-Sedoy put the song aside, and it lay in his suitcase for a year. After the blockade closed around Leningrad, Solovyov-Sedoy, shortly before that, evacuated to Orenburg, again presented his song to the judgment of his colleagues. They called it "gypsy", and the composer again postponed the song. But in March 1942, it nevertheless sounded and became popular. Here's how it happened. Solovyov-Sedoy, with the theater brigade "Hawk" created by him, gave a concert in a soldier's dugout. The front line was a mile and a half away. There were no more than thirty soldiers in attendance. The concert was already coming to an end when the composer decided to sing "Evening on the Road" himself to the accordion. He accompanied himself, and sang, referring to the fighters:

Sing, friends, because tomorrow is on a hike
Let's go into the predawn fog.
Let's sing more cheerfully, let us sing along
Gray-haired battle captain.

When the chorus sounded for the third time - "Farewell, beloved city!", All the listeners picked it up. The author was asked to dictate the words, and then once again sing the song together with everyone. This has never happened before in the composer's life: people sang his song, which they had never heard before. In a few days, the song spread on all fronts. Her words were transmitted by field telephones signalmen. At night, on the phone, they sang it to the button accordion. The song was sung at the front and in the rear. She became loved by the people.

Solovyov-Sedoy was exacting to the poetic word, since he himself possessed an outstanding literary gift. A number of his songs were composed by him on his own poems. In one of them, he defined the spiritual purpose of the song for a soldier who is ready to look into the eyes of death and defeat it:

Not a joyful song, but a sad motive
Remember dead friends
If you remember your friends, you will win otherwise,
Soldiers are a special people!
We don’t cry from pain, we cry from a song,
If the song reaches the heart.

Vasily Pavlovich considered a meeting in 1942 with the poet Alexei Fatyanov a great event in his life.

The pinnacle of their creativity can be called the most famous song"Nightingales", created in 1943. Fatyanov wrote lyrical poems about nightingales, in which he expressed the unity of man, nature, the living world in a foretaste of the triumph of life over death:

Well, what is war for the nightingale -
The nightingale has its own life.
The soldier does not sleep
remembering the house
And a green garden over a pond,
Where are all the nightingales night sing,
And in that house they are waiting for a soldier.

Fatyanov read the poems to Solovyov-Sedoy, and he came up with music for them. Fatyanovsky's lines evoked dramatic reflections in the composer: "It is always difficult to die. It is doubly difficult to die on the eve of victory. We talked a lot about this, and suddenly ... nightingales, lyrics ...". The song became the anthem of life in the war. She also had sadness home, and the feeling of spring, and the expectation of victory, and the hard work of a soldier.

nightingales, nightingales,
do not disturb the soldiers,
Let the soldiers
get some sleep...

The song quickly sounded at the forefront. In it, the nationwide feeling was conveyed through personal experience - this was typical for the song creativity of Solovyov-Sedoy. His songs of the war years became folk, because the folk soil on which they grew was the Russian lyrical song, which is distinguished not only by light sadness, but also by the expanse of free sounding, extraordinary emotional strength.

The post-war years are characteristic for Vasily Pavlovich with the appearance of songs written for the films "Heavenly slug" and "The First Glove". In 1947, he was again awarded the State Prize for the songs "We haven't been home for a long time", "The nights have become bright", "It's time to hit the road" and "A guy is riding a cart". And for the first time he was awarded the State Prize in 1943. In 1945, the composer was awarded the Order of the Red Star. Having composed the song "Where are you now, fellow soldiers?", Solovyov-Sedoy led a cycle from it, calling it at first "The Return of the Soldier", then already finding a more general, epic name - "The Tale of the Soldier". The cycle was first performed by Claudia Shulzhenko at the Central House of Arts in November 1947.

On March 12, 1950, Vasily Solovyov-Sedoy was elected a deputy of the Supreme Soviet of the USSR and devoted a lot of time to parliamentary work.

In 1956 he wrote the song "Moscow Evenings". It was one of the five songs that created the musical background of the chronicle-documentary film "In the days of the Spartakiad" about the first Spartakiad of the peoples of the USSR. Solovyov-Sedoy assessed her as another good song- no more. He was genuinely surprised when the song "Moscow Evenings" won the first prize and the Big Gold Medal at the international song contest, which was held during the World Festival of Youth and Students in Moscow in the summer of 1957.



"Moscow Evenings" has become a song-symbol of Russia for the whole world. In the piano performance, they sounded at concerts of the famous American pianist Van Clyburn. The well-known figure of English jazz Kenny Ball made a jazz arrangement of Solovyov-Sedoy's song and released a record called "Midnight in Moscow". When in 1966 the young Soviet vocalist Eduard Khil sang "Moscow Evenings" at the International Variety Competition in Rio de Janeiro, the audience picked up the song from the second verse. In 1959, Solovyov-Sedom was awarded the Lenin Prize for the songs "On the Road", "Milestones", "If only the boys of the whole earth", "March of Nakhimov" and "Moscow Evenings".

In the cinema, Solovyov-Sedoy was the author of music for more than fifty films. The composer created several song cycles: "The Tale of a Soldier", "Northern Poem" in 1967, "Light Song" in 1972, "My Contemporaries" (1973-1975).

In the last 4 years of his life, Solovyov-Sedoy was seriously ill, but the disease did not prevent him from celebrating his 70th birthday in 1977. Friends, artists came to the composer's house on the embankment of the Fontanka River No. 131, and the composer's anniversary was broadcast on television.

Vasily Solovyov-Sedoy died on December 2, 1979, and was buried on the Literary bridges. He was buried next to his grave in 1982. best friend childhood, actor Alexander Borisov.

In 2007, a documentary film "Marshal of Song. Vasily Solovyov-Sedoi" was filmed.

Vasily Solovyov was born on April 25, 1907 in the city of St. Petersburg. Father, Pavel Pavlovich Solovyov, served as the Chief Janitor of Nevsky Prospekt. Mother, Anna Fedorovna, worked as a maid for the famous singer A.D. Vyaltseva, who gave her a gramophone and records with her songs. The pseudonym "Grey" came from a childhood nickname. In early childhood, he received a balalaika from his father as a gift, which he mastered on his own and organized a trio with neighbor children: Sasha Borisov, the son of a laundress and a kitchen worker, and Shura Vinogradov. The first "classical" musical impressions of Solovyov-Sedoy were trips to Mariinskii Opera House, where he was taken by a cellist who lived in their house. There the boy heard "The Tale of the Invisible City of Kitezh" by N.A. Rimsky-Korsakov, conducted by A. Coates, F.I. Chaliapin's performances in the operas "Boris Godunov" by M.P. Mussorgsky and "The Barber of Seville" by G. Rossini.

In 1923, Solovyov-Sedoy graduated from the unified labor school. Having seen a piano for a pianist in the St. Petersburg cinema "Elephant", he began to pick up famous melodies by ear and learned to play: from 1925 he dubbed movie shows in clubs, worked as an accompanist in a rhythmic gymnastics studio, and as a pianist-improviser on the Leningrad Radio.

Since 1929, on the advice of A.S. Zhivotov, Solovyov-Sedoy studied at the Leningrad Central Music College, where N.V. Bogoslovsky was his fellow student. In 1931, the entire course of the technical school was transferred to the Leningrad Conservatory, which Solovyov-Sedoy graduated in 1936 in the composition class with P.B. Ryazanov. During his studies, he worked as a composer at the Puppet and Anti-Religious Theaters in Leningrad.

Although the young composer wrote in different genres, in the second half of the 1930s, the main direction - lyric-song - was determined creative activity. In 1936, at the Leningrad competition of mass songs, the first prize was awarded to his songs "Parade" and "Song of Leningrad". In 1938 he began writing music for films. In 1940 in Leningrad and in 1941 in Moscow, the premieres of Solovyov-Sedoy's ballet Taras Bulba took place.

During the Great Patriotic War, he lived in Chkalov, where in 1941 he organized and led the theatrical front-line brigade "Yastrebok", with which he was sent to the Kalinin Front, in the Rzhev region. During the evacuation, he met the poet A.I. Fatyanov, who became his constant creative partner. The war gave a powerful dramatic impetus to the work of Solovyov-Sedoy. In the period 1941-1945. he wrote about 70 songs that won him popular love; among them are “Evening on the roadstead”, “On a sunny meadow”, “Nightingales”, “We haven’t been at home for a long time”, “What are you yearning for, comrade sailor?”, “Don’t disturb yourself, don’t disturb”, “Hear me , good”, “Sailor Nights”. In 1945, songs appeared for the comedy film "Heavenly slug" - "Because we are pilots" and "It's time to hit the road"; in the same year, the premiere of his operetta "True Friend" took place in Kuibyshev.

In 1948-1974, Solovyov-Sedoy held major administrative positions in the Union of Composers: in 1948-1964 he was the chairman of the board of the Leningrad branch of the RSFSR SC, in 1957-1974 he was secretary of the USSR SC.

The post-war period - the years of the creative flowering of Solovyov-Sedoy. The song "On the Boat" from the film score "The First Glove" is one of his most soulful lyrical songs. The song "On the Road" from the movie "Maxim Perepelitsa" became the most popular drill in the Soviet Army. In 1947, the composer wrote a song cycle based on A.I. Fatyanov’s poems “The Tale of a Soldier”, the song from which “Where are you now, fellow soldiers?” became a favorite among Soviet veterans. The song to the verses of M. L. Matusovsky from the documentary film “In the days of the Spartakiad” “Moscow Nights” became the musical symbol of the USSR all over the world; its incipit from 1964 to the present day is the call sign of the state radio station "Mayak". For the VI International Festival of Youth and Students in Moscow, Solovyov-Sedoy wrote the song "If only the guys of the whole earth." The last masterpiece of the composer is "Evening Song", which became the unofficial anthem of Leningrad.