Voznesensky about singing and poetry. The main topics and problems of the early poetry of A. Voznesensky. Pasternak's unified teaching

Andriy Andriyovich Voznesensky- Russian Radyansky singer, publicist, artist, architect. One of the most famous poets of the sixties.

Andriy Andriyovich Voznesensky was born on May 12, 1933 near Moscow. Batko - Andriy Mykolayovich Voznesensky (1903-1974), hydraulic engineer, Doctor of Technical Sciences, professor, director of the Hydroproject, Institute of Water Problems of the Academy of Sciences of the USSR, participant in the development of the Bratsk and Ingurian hydroelectric power stations, meritorious worker of science and technology of the Uzbek Russian Socialist Republic; mother - Antonina Sergievna (1905-1983), born. Shepherd's wife was originally from the Volodymyr region. The great-grandfather of Andriy Andriyovich Andriy Polisadov was archimandrite, rector of the Annunciation Murom Cathedral on Posad.

In the Kirzhachi of the Volodymyr region, Voznesensky lived part of his childhood. At the time of the Great Patriotic War, Andria and his mother were evacuated from Moscow and lived in the town of Kurgan with the same driver. Andriy began in 1941-1942 at school No. 30. Later, remembering this time, Andriy Andriyovich wrote: “Where the evacuation left us, but for all good things came to pass.”

After returning from evacuation, one of the oldest Moscow schools began (Nina School No. 1060). The fourteen-year-old man gave his verses to Boris Pasternak, and his friendship with him from afar affected him. Having ended in 1957 Moscow Architectural Institute. Having lived for 46 years with a writing and film lover, theater critic Zoya Boguslavskaya.

The first works of poetry, which immediately reflected his distinctive style, were published in 1958. His lyricism reflected the desire to “extinguish” everyday people with categories and images of world civilization, the extravagance of metaphors, the complexity of the rhythmic system, and sound effects. This is not only the teaching of Mayakovsky and Pasternak, but also of one of the remaining futurists – Semyon Kirsanov. Voznesensky wrote the verse “Funeral of Kirsanov”, later setting the music under the title “In Memory of the Poet” by the great performer of Kirsanov, David Tukhmanov (conquering the song Valery Leontyev).

Voznesensky’s first collection – “Mosaic” – was seen in Volodymyr in 1959, and incurred the wrath of the authorities. The editor, Kapitolin Afanasyev, was fired from his job and wanted to save circulation. Another collection – “Parabola” – was published in Moscow and immediately became a bibliographic rarity. One of the greatest achievements of this period is “Goya”, which unconventionally depicted the tragedy of the Great German War, which once evoked formalism.

At that time, the numbers of the sustria and the poets were in control. We spent this evening at the Polytechnic Museum, where Voznesensky’s lines sounded:

Pozhezhka in the Architectural Palais wide Cowsheds in the cupids of the Raiklub in Rococo.

The Voznesensky order from Yevtushenko and Akhmadulina caused sharp hostility among a large part of the Radian literary community. This dislike was also expressed in the works - for example, in the work of Mikoli Ushakov, “Fashionable Sings”, 1961 ( In the changing fashion of the summer, the flocks filled with young people. / So why, handmade flower, / aren’t you wearing fashionable colors today?) or at the top of Igor Kobzev “To Komsomol activists”, 1963 ( I will serve three times of jazz / I will use abstract madder overseas. / They seem to have come to tell us / Their popular ruler is singing...). On Gorky Street in the “Victoria of Satire”, already in the 60s, a robotic worker is depicted, which is seen as “evil spirits” with a broom, and among the smitten-evil spirits of the images, Voznesensky with the collection “Tricky Pear”. In the spring of 1963, at the meeting with the intelligentsia in the Kremlin, Mikita Khrushchov sang harsh criticism. As most of the hall splashed, they shouted: “Get up, Mr. Voznesensky, to your masters. I’ll punish Shelepin, and I’ll sign your passport abroad!” Voznesensky repeatedly visited various foreign countries for performances: 1961 - Poland; 1961, 1966, 1968, 1971, 1974, 1977, 1984 - USA; 1962, 1966, 1969, 1976, 1977, 1983 – Italy; 1962, 1963, 1973, 1982, 1984 – France; 1967, 1977, 1983 - FRN; 1971 – Canada; 1964, 1966, 1977, 1981 – Great Britain; 1973 – Australia; 1968 – Bulgaria; 1981 - Mexico and many others. It became one of the most popular Russian poets in the United States. Voznesensky became friends with the beat poet Allen Ginsberg, becoming a friend of Arthur Miller's family. This sustrich with Marilyn Monroe later appeared in the rows: “I am Merlin, Merlin. / I am a heroine / Self-destruction to the heroine.” Other doors are even larger:

In America, which smelled of darkness, Camellia and ammonia. Kicking, nib tractors, Informers follow me... We will unbearably crucify, It hurts to the skin's birthmarks, If you have from lips to heels, Everywhere eyes are planted... Let, blushing Quasimodo, The soul ache to bleed Under the saw eyes of freedom And the lower glances iv knocking.

Through the river after the collection of “Tricky Pear”, Voznesensky’s poem “Lonjumeau” dedicated to Lenin was released. The completed collection of “Antimiri” served as the basis for the famous performance at the Tagantsy Theater in 1965. For this purpose, please enter Volodymyr Visotsky having written music and sung “Akin’s Song” based on Voznesensky’s poem.

In the 1970s, Voznesensky began to have his share of good things, appearing on television and depriving him of the State Prize of the USSR in 1978, and also taking part in the uncensored almanac “Metropol” (1978).

Voznesensky was friends with a lot of mysteries, about the zustrichs and some of them from articles and memoirs and biographical books. He was a scholar of Sartre, Heidegger, Picasso, and collaborated with Bob Dylan.

Popular pop songs are written at the top: “The girl is crying in the machine”, “Turn me to the music”, “Pick up the music”, “Dance on the drum”, “Song on the “bis”” and the main hit “A Million of Red Trojans” ", where he sings at the top, recounting Paustovsky’s novella about the love of the artist Pirosmani with a French actress. With the author of the remaining four songs Raymond Pauls Voznesensky spivpratsyuvav very richly. Rock opera " "Juno and Avos"", written on Voznesensky's libretto by Oleksiy Ribnikov, was staged in 1981 by Mark Zakharov at the Moscow Theater named after Leninsky Komsomol and has not yet left the stage. The most famous romance “I will never forget you”, the basis of the “Saga”.

Alive and working near Peredilkina near Moscow, next to the dacha-museum of Boris Pasternak, on the 10th of May (Pasternak’s birthday) and 30 May (the day of the poet’s death) conducting poetry readings. Voznesensky’s book “Men of Fifteen Fates” is dedicated to Zustrich and Pasternak.

The first stroke sings after surviving several fates before death. In 2010, Andriy Voznesensky suffered another stroke, after which he was left unprepared.

Andriy Andriyovich Voznesensky died on June 1, 2010 after a severe illness at the age of 78 while living at home in Moscow. Vіdspіvuvannya sings according to the Orthodox rite on the daily 4th century at the Church of the Holy Martyr Tetyana at the MDU. Andriy Voznesensky was buried on the 4th of November 2010 at the Novodivychy Center in Moscow along with his fathers.

Andriy Voznesensky is one of the heroes of the documentary film by Vladislav Vinogradov “My Suchasniki” (1984)

There are a lot of popular songs written on Voznesensky’s verse (most importantly from his already published verses). He also performed in the distance as a singer-songwriter, writing a dedication to Sophia Rotaru in the verse “The Voice”.

The song of the famous Evgen Osin “The Crying Girl in the Automatic Machine”, which became popular in the early 90s, came out from the late 60s as one of the numbers of the courtyard musical culture. In truth, this is a song based on A. A. Voznesensky’s “First Ice.” The words of the song have been changed in places.

Andriy Voznesensky remembers (and according to eyewitnesses this is considered humorous) from the song of the rock group “Ado” “Be good” (1996):

Don't let the dog fly
Don't be a fool with zukerki rib
And don’t read Voznesensky out loud
This is so funny
Really funny

You can repeatedly guess who the hero of real and unreal stories is in the works of V. Aksionov and S. Dovlatov.

A. A. Voznesensky took part in the adoption of a positive decision about the release on the All-Union record company “Melody” of the first disc of the group “Aquarium” in 1987 (a giant disc, composed of songs from tape albums “Day ribla" and "Children of the Breast") . Vidoma statya A.A. Voznesensky about B. Grebenshchikov was included on the envelope for the price of the payment. Voznesensky called the leader of the group, Boris Grebenshchikov, skilled in poetic creativity to the point of coherent metaphor, his champion in poetry.

In 2001, I signed a list for the protection of the NTV television channel.

Born on May 12, 1933 near Moscow. Virshi began writing at school. Being a great master of the creativity of Boris Pasternak, Voznesensky, having studied in the sixth class, brought his masters to it. He sings, appreciating the creative initiative of the guest and asking for it from the guest. This meant Voznesensky's share was further away.

In 1957, Andriy Voznesensky graduated from the Moscow Architectural Institute (MARCHI).

In 1983, a collection of works was published in three volumes, in 2006, a collection of works in seven volumes was published.

The cycle of Voznesensky’s “Anti-World” (1964) was staged near the stage and song by the Tagantsi Theater, and Volodymyr Visotsky came first to the stage with the guitar of Viyshov. At Tagantsi, the play “Take care of your faces” was also staged, which was removed immediately after the premiere.
The rock opera "Juno and Avos" (music by Oleksiy Ribnikov) based on Voznesensky's song "Avos" at Lenkom in other theaters in Russia, near and far, gained great popularity and became a classic of the genre.

The bagato of the popular ESTRODY PISEN was written on Virshi Puta, the number of Milion Chervonyn Trojand (Muzika Raymond Pauls), Pissnya on BIS (Muzika Raymond Pauls), “Personi Osteni” (Muzika Evgen Martinov), “Crying Divchinka in Automatia "(Music by Evgen Osin), as well as a lot of romances to the music of Mikael Tariverdiev.

Andriy Voznesensky worked in the genre of visual poetry. You will experience reading works with music and demonstration of so-called videos. Exhibitions of these works - as seen - were successfully held at the Museum of Creative Mysteries named after O.S. Pushkin in Moscow, Paris, New York, Berlin. His author's evenings took place in rich places in the world.

It has long been noted that the vertices of a poet will win if they are chosen at once.

Obviously impossible. Nobody knows the author of the fates of twenty years ago, bring to the editor a verse that begins in such rows:

The stands rushed like a herd before the starts,
At the center there are horses, dug in at the present.
Do you think, Vasya, we should bet on them?
They stink, they stink, they bet on us.
The crow ambled on me.
Apple by the grain - oh my...
There's a big flock of wine in there.
I take all the finishes and win none.
The queens think that they can rule.
People wonder what the stink is.
Nature has bet on us.
And mi - drive!..

Vzagali, he knows how to read and hear his top stories. You can, say, call it “August”, but with such a title you can mark it as not leather. And call the axis to no one with the sensible word “Zorya”, and the reader’s eye will immediately be drawn to it. And the special wine bearer can explain that this very “serpen” only has an outdated name - from the pagan calendar. Do you want to deny the aesthetic significance of such a technique? Be a caress, if he sings in such a way as to reach the mark: the matter has been read, and the smut, the rash, those that have been taken from your heart.

Dekhto appreciates that Andriy Voznesensky sings rozumovy, cold. One of the most recent critics tries to explain its popularity to the fact that readers, having said that, have to solve all sorts of word puzzles (not an intellectual activity!). In my opinion, this is explained below. True, in the middle of the poet’s work there are extremes of very different temperatures and the complex metaphorical nature of the mind (what S. Narovchatov called “the untidyness of fantasy”) does not always indicate the scale of the experience.

Well, in order to appreciate your creativity, let’s start with everything in order. Htos, but Voznesensky cannot begrudge the disrespect of criticism. It seems that, starting from his first years with poetry, they followed him closely, cheered him at successes and scoffed at him, taught him and instructed him, barked sweetly and magnified him to the skies. Alas, perhaps this is a failure, since the number of articles written about the poet does not cover the depth of his guilt. Even then, the most significant achievements can be traced, as a rule, to the super-sensitive assessments that can sometimes be made - they can be traced to various works. The poem “Oza” was awarded, for example, direct praises from S. Rassadin (they respect this whole thing through and through) and O. Marchenko (who dedicated her critical panegyric to it). The grievances were published on the pages of the journal “Nutrition Literature” accompanied by a short introductory note, in which the editors decided to return to the discussion and find out about it, perhaps, more active thought. Ales this obіtsyanka, perhaps, got lost in the influx of other journal references.

The remaining articles about Voznesensky also maintain both an apologetic and a negative line of criticism. The beauty in this impersonality of materials, in my opinion, is the small article by S. Narovchatov “Rozmov's Pureness”, although it still - at least a little - lacks the author's kindness.

Perhaps all the controversy that is written about Voznesensky, given the many differences today, will be understood in one thing: that this man is completely unique and not similar to any of his peers. This, of course, must be respected when singing, preserving Ukraine’s cultural ties with the spiritual lives of the people, with the shortest traditions of ancient poetry. Alas, this very point about Voznesensky has revealed the largest number of super-intelligent thoughts. A noteworthy characteristic of Voznesensky’s artistic style was given by his literary comrade Yevtushenko: “The light stands at the tops of Voznesensky in such a way that one could hardly imagine it, - blurred by a fleeting, chaotic displacement. They are filled with brightly colored flames that catch your eyes and immediately become visible, for a second they wobble, as if we exchanged a spotlight, with veils.” However, in Evtushenka’s mind, such sweetness is “never understood”, and he further explains that it is necessary to change the tempo. As a matter of fact, one physicist (and the superchka about Voznesensky also included physicists) gives the song credit to those who are at the forefront of classical traditions, demonstrating daily, modern methods of imaginative thinking. However, regardless of the novelty of the poetic form, Voznesensky nevertheless started not as a zero mark, but creatively advanced the achievements of older poets - Vl. Mayakovsky and N. Asieva, and in the future - V. Khlebnikova and M. Tsvetaeva. And, regardless of the official declarations (“There are few of us. There are probably four of us”... then), we will share with our poetic generations a spiritual bond. A. Urban rightly noted in 1962 that “... in Tsibin and in Voznesensky, in search of artistic diversity, there is a wealth of talent.” This other cautious criticism is more correct: “A passion for singing themes, major rhythms, lines and riotous farb incite the appearance of power to the character of the lyrical hero. In fact, this secret sarcasm is hidden behind all the poetic youth. The number of singers is approximately one generation.”

In the first books of Voznesensk Badior, the energy of truth is the key. He bows before the genius creations of light mysticism, but there are no unfinished authorities here. He is indifferent to the juices, carnal farbs, and the youthful love of life dictates to his extinguished voice: “Get away Raphael! Long live Rubens! Bring for the burial of the lives of the people, let them know. The axis of the burials depicts the bustle of Georgian bazaars. Having watched the scene in a Siberian village, the women, inflamed after a snowstorm, throw themselves into the snow. And the half-word is immediately popular: “These are the shoulders, these are the backs on the spot, the metal thrown like a blast furnace!” An axis on Miska Street serving a tray of waterfalls is a new artistic joy. Such an increase in life that the surroundings of the police caskets look not at all grim - guess the juice skibs of the kavun. “We are opponents of the dark one. We are attracted to the widest - like the Tula samovar, like the TU-104,” he explains, explaining his life. It is characteristic that in these joyful declarations, which emphasize the completeness of the butt, it is natural to evoke images from the world of science and technology, which rightfully enter into the life of the poet-urbanist, their artistic mastery will reveal and there are no difficulties. This rice, from the very first crops, reveals the tops of Voznesensky, the early poetry of Tsibin and other poets of the rural tradition. However, both in the spirit of youthful patriotism and in the optimistic faith in life, resentment called artists follow parallel paths. Listen to the stench of lyrical themes. Perhaps, in such plots, the different evidence of life is especially evident, and the different nature of their gifts emerges more clearly.

At the Georgian bazaar, Voznesensky will tell us in front of the miracle food. It is true that people are stingy and nature’s generous gifts – this is a miraculous object for an artist! “Long live master, scho vypishe ich!” - The author sings, and it turns out to sound like a secluded anthem of creativity, the beauty and abundance of life. Tsibin has a better knowledge of people's everyday life and, in every detail of his part of the Central Asian “Fairs,” he carefully details and outlines the psychology of several characters in the picture. Once again, he tells about how Zarina-Svetlo Petrivna was wooed, and writes portraits of the old betrothed - the “head” and the betrothed’s father. For everyone, let’s say, it’s unlikely that, like the rest, gorging on fun, “the wind will settle in your pants.” Here the skin of the skin reveals a concrete, living character.

Voznesensky’s works, as a rule, have less colorful people - their images come close to symbols, their sounds are direct manifestations of the song’s ideas. This is not a bad young girl, but “youth” itself, spared some characteristic features - the author gives just one shocking, poignant detail: “... shaking, a glass on the edge of the table.” This detail creates the necessary lyrical atmosphere: it intensifies pity to the heartlessly merciful youth, and encourages the joy and pleasure that awaits. Everything else is clearly visible from the text, there are no hyphens, and the main details are extremely enlarged, hanging in the foreground. The painting is very original, unpretentious - the sharpness of the conductive color tones, the contrasting solutions are similar to the poster, and the intense spirituality is similar to an old Russian icon. (Vzagali Ascension miraculously recognizes our ancient mysticism. It is not for nothing that his idol is Rublyov, and a great poem is dedicated to the vigilantes of St. Basil’s Cathedral).

Such a stylistic manner, obviously, has its costs, but there are also undeniable advantages: great nakedness and intensity of thought - what is often called “intellectualism of form” (A. Urban). You can either accept or not accept this manner, but it is important to understand it correctly and not to assume from the artist that he was obviously committed to the successful completion of other tasks. The lyric is important, perhaps, not able to mold real characters, but the lyric is special - extremely bright, booming. And although the zest for life was the most important mood of my first books, they already felt a keen interest in singing about the struggle between good and evil, about the tragic knots of life.

As the subjective sings, with a mighty feeling, the Ascension call can no longer withstand the hostility of an excessive life. Like the rich same-year-olds, they took up the historical topic, engaging in the jokes of the “roots” family tree. However, having gone crazy not to the near past, it is directly or indirectly (through family transfers) to be within the reach of special investigators. Having become afraid of the old times - the era of Ivan the Terrible - and created something magical about the vigilantes of the Intercession Cathedral. However, he sings without setting himself the task of creating the legendary song in its exact everyday details (this task was two decades earlier, quickly created by D. Kedrin). The story for the poet is a more effective body, on which the grim carnival of his intellectually embodied drama flares up, igniting an irreconcilable conflict between “artists of all heavy loads” and the anti-people, tyrannical public. Calling, behind its mental coloring, the dedication of the old man of Voznesensky to the essence of the moral conflict appeared even more relevant. By its very scale and strong-willed pathos, it seemed to resonate with our grim hour. The poem “Maistra” is strong in its intense tragedy and endless determination of life. And although he sings, he marries his heroes in the darkness, as “voiceless, like a face without eyes,” and if he wants to talk about the terrible punishment of architects, he still takes optimistic sweat from him and sings the mountain over the gloomy ones. And we believe in the desires of the lyrical hero to continue the glorious times of our ancestors, to flow into their worlds from the creation of the beautiful places of the future.

Over the years, Voznesensky has been prominently identified with youthful optimism. Through fate, we have increasingly come to realize that pain, suffering, and injustice are not only the share of our predecessors, but also that cruel tyranny has not yet entered the realm of retelling since the era of Ivan the Terrible. At the same time, rumors are being created about the Russian antiquity, which also included increased indulgence in social oppression. Other creations are being published - about the grave slaughter that we have reclaimed from the past, about that dark and low thing that has not yet been lived, has not been heated in our life. This entire multi-caliber lyrical range of tops comes together under a single “breath” - he sings the title of the new book “Forty Steps with the Singing of “The Tricky Pear”.

It’s fate that when this book first appeared, I wrote an article in which I spoke sharply about the enormous position of the author. However, I will tell you about this, obviously, not in order to repent of an old sin. I could repeat a lot of the documents that the poets had accumulated at that time, and now, although from now on the strengths of the creative work have become obvious to me. This is a book of terrible and gloomy, sometimes phantasmagoric images. Here, “like white spotlights,” the legs of a woman are beating, and the head of the Tsar’s khan is cut off, “a turnip with red badillas,” and he himself sings, cut into seventeen parts by the photographic lenses of American spies. The author is overly hostile to the sick fears, and is in too much of a hurry to feed the reader with them, without ever having fully grasped the root of them. Where did his untidy energy go, insatiable, it seemed, thirst for life. The stench changed to a completely different mood. The book has an important tone - it depicts humanity, hardness, and cruelty.

The scary pictures from “The Tricky Pear” still manage to remain modest and streamable in the wake of this revelry of gloomy fantasy, these nightmares that the author flared up in his upcoming books. In “Sketch before We Eat”, for example, he meticulously, down to naturalistic details, depicts the self-destruction of our young partner - the wife of the lyrical hero. She puts in a poignant monologue, the motives for self-destruction (and therefore the character of the heroine!) are still not entirely clarified (so - the hidden dissatisfaction with life, the fatal “trick” of the Kohanna, undoubtedly, especially the discord of the soul). Is this person honest or is she just weak, is she a noblewoman or is she made to make unhealed compromises with her conscience? You have to guess about it, the fragments of the song unearth the necessary mystical explanations. Why then does it matter to the reader that he or she needs to know? In two words it can be summed up like this: she suffered. So, the heroine, without a doubt, suffered deeply - the words of her monologue were baked by indescribable pain - and this, perhaps, was entirely enough to win the poet’s respect for guilt. And for him it is no longer important how objectively your motives are that prompted the woman to separate from life (if she died, that means wagoma!), just as it is unimportant to those that the fate of the weightless Muscovite is different from the tragic fate of the overseas ї movie theaters, whose pre-death monologue of the premises "Magpie..." At the time, in “The Monolose of Marilyn Monroe,” the drama of self-destruction was richly savage and intelligent. It was entirely a social drama. Most of the heroine's replicas were the share of the fashionable actress Zakhod, who was motivated to exploit her beauty and talent for a promiscuous marriage. The reader's ears are deprived of their most heartfelt cry of “Unbearable!”, which is repeated so often at the top. The poignancy of the experience is reinforced here by the plastic images of difficult, humiliating scenes for the heroine. The verse sounds like an inexorable response to the social order, which drove people to their death.

But what made the heroine of “Eskiz” so devastated and disillusioned with life? Foggy attacks on those who “blame the wine, little to say, readers, just like they were destructive for the sake of the khan to be “respected” with the advancing” kokhan. In another section of the lesson, from which the “Sketch” is formed, a nightmare is created of the linearity of everything that exists - a dream nightmare, which shows the important mental state of the hero, but again does little to clarify the tragic situation itself:

The squares diverge into elipsis.
The nickel-plated backrests are leaking,
Like pasta, it's boiled over.
Grati v'yaznits hang,
yak pretzel chi axelbanti...

He doesn’t sing at the right time to understand this hidden disintegration - this is already chaos, for which one cannot fight, the chaos of overcoming. Sings from buried treasures and with rare wine brings new details to the picture. For what? Obviously, the whole picture is a cyclopean metaphor, a vivid infusion of the tragic formula: “Everything flows. Everything is changing. One move on to the other.” So Svidomosti’s thoughts about the irrevocability of the butt, about the fragility of everything that exists, about the impossibility of turning around are transformed in the hero’s sleep. However, in this seemingly surrealistic image, a tragic spark of humanity flickers and lives. A new greedy dream of the hero (or the author himself?) – The elevator cage collapses on his head. Klitin on white is a signal of concern, necessary for a living skin organism. However, why would he live if his whole life came down to one uncut cake? The "Hvoriy Balad" shouts "It hurts!" becomes for Voznesensky not a personal motto, with which he intends to rush into battle against the evil of the world. Just as the loss of sensitivity means death, then feeling pain also means living. But this truth flows at the top of the song here, between transformations into its own meaning: to live means to constantly feel pain, to suffer. This was given by Vl. Turbin called Voznesensky the organizer of the poetic trust “Golovbol”. It’s a great significance, but, unfortunately, you can’t see it with luck!

It seems that this particularity is the emergence of a kind of confusion due to the growth of interest to different levels in the world. If he paints a despot, it is certainly one that would send a chill down your spine. With the head of the man who was scarred by the river. (“The eyes rush across the face like a skidding motorcycle.”) Because it depicts a love drama, it is inevitably more painful, Vinyatkov. A tenth-grader and a teacher, an old father-in-law and a young daughter-in-law. Navit... that person is a tree. Thus, in “Baladi the Apple Tree,” in order to magnify the wonder of the birth of a new life, he sings with even more naturalistic images, and the apple tree is not as crowded as the people who descended from their heights. And the main rank along the biological line is between a human (the hero is a young boy) and an apple tree, the body of which is important as a human being and who “lies to the waist, rehearses and calls the flyer, which is moving away "

Alas, it is clear that similar mistakes are causing trouble in Voznesensky’s complex poetry, which few people otherwise love and know in our country. It is unimportant that at times the brightness of his farb is shouted more often, initially, it does not respect, but, on the contrary, it embraces the lyrical virtuosity of images. He sings at any cost to get the reader to the headaches of the hour, to show the multiplicity of human suffering in today's world and thereby accept their loss. It is not to speak at the top - it is to shout at the majestic mouthpiece, it is not to show small pictures or small paintings, but to majestic poster panels. Like a ship that has suffered an accident, it grows on a high birch tree and runs along the edge of the sea, waving its arms: respect your decisions! Increase your respect! "SOS!" "SOS!" And I need to give him justice: this position holds all the advantages before the poetry of great truths and hopeless well-being. However, on the right, it is not only to point out (greatly increased) the need for indulgence, but to motivate people to fight against them, to mobilize their will. Where the singer often appears weak and one must rely on the spiritual strength of the reader.

To understand the task of how to put Andriy Voznesensky before mysticism, it is characteristic of his thoughts in “Dialozi Jerry, the San French poet.” The story seems to be drawn out (everything is based on food and nutrition - with a bare logical consistency), but ends with a strong, energetic message, which obviously expresses the creative credo of the author:

The video is not squeezed
shares and tears.
Nutrition has the truth.
Sing - food.

An undeniable benefit of the right mind is to present relevant nutritional issues to the children of the day. However, to add knowledge of poetry only in this way is so one-sided and narrow as to equate life with all sorts of pain.

Voznesensky, of course, is not writing about the Radyansky poet, however, at Sunset, a progressive aesthetic idea has long been revived, that “...mystery was found and created in order to help unravel those who are confused...” The words are meant to lie between For others, the famous Sainte-Beuve, the light felt exactly one hundred and thirty years ago. “You can accumulate, without your will, a lot of caution, thickened to the point of concentration, peel off,” wrote the French scientist, “but in order to remove the accessories for the mystique of farbi, they need to be diluted and destroyed. You are obliged to present this axis to the public, but keep it for yourself. Your thought may be frowned and confused, but mystique is not to blame for being like that at all.” Obviously, we are obliged to follow the subtle twist of Sainte-Beuve’s thoughts, but we cannot help but share the humanistic pathos of his thoughts about mysticism. Participants of the tragic and beautiful 20th century, the descendants of Pushkin and Belinsky, we, of course, cannot reconcile ourselves with the fact that poetry sometimes wants to abdicate from itself the enormous rank of a reader of life. In this case, Voznesensky himself may have realized the moral insufficiency of his artistic formula, which is why he shielded himself from criticism with the figure of the American Jerry.

I find myself wishing that I could objectively appreciate Voznesensky’s talent and strong poetry, and that I am even more excited about him, at least noticing his endless wealth. Why? Why did those who love him or those who don’t love him, marvel at him, and constantly quarrel with him? Is it possible that the uniqueness of his poetics is disturbing many of his achievements and shortcomings, which tend to increase sharply and thus become a driver for heated discussions? To the clear expressiveness of the visual images, it is necessary to add a highly complex, rich in sound association, musical and rhythmic organization of the verses; We can imagine, for example, such a love of love as the vision of one guiding concept, the words as a musical leitmotif of my creation: “I want to be quiet, quiet... Are my nerves scorched? Silence... so that the shadow of the pine tree, brushing us, moved, so that it cooled the dumb wind, the back of the spine, to the little toe of the foot, silence...”

The sophistication of the poetic ear is manifested in Voznesensky and in the cleverness of his words, approaching even different words, as they may sound similar, in which the author may have the most unsatisfactory artistic effects.

The bearer of pain and the protector of all those who suffer, Voznesensky shows a keen interest in those who are the culprits of human troubles, and in various bearers of evil. The negative hero has appeared in this lyric for a long time, from the first books. We are not talking about negative characters in the past (all of Voznesensky’s top leaders had such a thing: this bastard who beats his wife, and the evil “sister-in-law” who sold off his hairy son to Colima, and the dissolute general’s wife, and this cynical friend fer , and all other kinds). Let's talk about the main opponent - the moral opposite of the lyrical hero. Such an opponent, in my opinion, first appeared in Voznesensky’s book “The Guest of the Rich”. This is a pitiful little man, similar to that local “slimak”, who instills inexhaustible hatred in Volodymyr Sokolov. However, there are some important figures in power, including you. There is no shortage of aggravation in a casual suit and in one’s own intelligent manners, which can lead to a more intense spiritual life. He is a dumbass, reads popular brochures, and learns scientific terminology. However, you need to know more about the top in order for the boy to drape his moral emptiness. And I want to sound self-condemned in my promo - “I’m going to die!”, but this is just a rhetorical device, and the insurance policy in the end is on the spur of the moment. Even by this logic, the entire human race is composed of such “scum.” Before the speech, we would like to speak in the name of a generation, tries to characterize our hour (“hundreds of atomic disintegrations”), claims to be a song of philosophy.

There is nothing like this in the lyric of Voznesensky’s one-year-olds. Tsybinsky Senka knows thoughtlessly, amoeba-like sleep and a whole lot of contentment. “It’s a hard life” and easy victories over the village girls, and a whole lot of happiness. Not far from the village of Nogo and the “safety slime” Vl. Sokolova, that the time is in the thick house with ficuses and tired of accumulation. Called the hero of Voznesensky, he sharply dislikes his literary brothers-in-arms. For the sake of the oppression of the fallen people, for the sake of tormenting the soul - so what, after all, to work? “C'est la ve”!.. And I want to express the truth of moral non-haininess, the over-converted bastard thinks - to laugh at everything pure and present:

We have a generation.
We are masks without disguise.
We know bras and some hearts.
The old women taught us the khanna,
Zvidsi gorkota zhovchna І empty in the blood.
In the period of isotopes.
Reactors, plastic I, people, trampled,
I'm an abomination. And you are talking about Mars...

Well, the preaching of shameless cynicism is written out strongly and energetically. Perhaps it is still possible to get out of the way of singing other songs without coming up with such an extensive program of vulgarity, with their heated “theoretical” arguments. Before us, obviously, is not the “burdocked” Senka and not the polished snob Sokolov, but, so to speak, a “bastard” for calling and fighting. To be sure, he sings after calling him a Jehovahist, a great politician. The proteus could not be emblazoned on the forehead of the hero of the additional brand: exposing the enemy’s idea and so it turned out to be completely impressive. And let the positive heroine of Versha - like Lyalka - let herself get hysterical, don't let the vulgar's wilts, she can't resist anything except feverish blunders (and then she bursts into tears), after all, Voznesensky got a headache - he'll definitely go down and the image of the thoughts of an everyday cynic. demagogy. She sings like few others of the same age, even in her early youth she can recognize the power of a warrior’s intellect, show someone else’s philosophy of life. Further, the looming ideas of Yegovist will find their echo both in the evil croaking of the raven singing “Oz”, and in the death of some experimentalist, who is a further stage of moral decline. Now it is no longer a human song, but simply a separate idea. We don’t really care about his appearance. The demagoguery of Yehovist has become increasingly scientific in appearance, and his maxims may sound aphoristic: “What poetry? There will be robots. This is how an intellectual barbarian, enriched by the remaining word of science, formulates his thoughts. “That’s the idea! How to cut the earth’s core along the equator... True, half of humanity is dead, then the other is tired of the joy of experiment.” Who is this? An evil schizophrenic who has seized upon unprecedented power? This is fantastic, otherwise the 20th century did not allow numerical butts, if crazy maniacs were revealed among the powers?

The song intensifies the ominous farbi, the darkness around it thickens, chaos is revealed: “The stories of history were shuffled, like cards in a deck, behind the industrial revolution there was a wave of Batia.” All this is chaos of social significance, artistic thought: and even in truth, the same idea emerges here, like Versha Vinokurov, who guessed that Auschwitz drank wine from the world richly later, the chant of the Jacobins from the one who “sk The era of evil has ended in the world.” The verses of both poets are directed against the absence of turbos, which blurs the eyes of real trouble, only Voznesensky writes from the powerful in his eccentric, fantastic key. And the biggest worry, in my opinion, lies in the fact that without noticing anyone, everything went as usual - people continued to walk in a straight line, then they were deprived of anything until the catastrophic reshuffling of history.

The story about apocalyptic fears and the evil figure of the experimentalist is only a small part of the story of “Oz”, and it is loosely connected with other sections. Before the speech, Voznesensky, who loves to emphasize in the names of his works their incompleteness, sketchiness (“Sketch before singing”, “Forty steps with singing”, “Lamentation for two poems that were not born”, etc.), without respecting Xia here it belongs to the genre. However, the song (it’s true), in our opinion, is still clearly whole, and not disjointed, although it would be brilliantly clear. And if we recognize “Ozu” as I sing, then we will be confused to realize that it is not in good order, stretched out, that the sides of the lyrical plot (necessary in the course of the story) are unknown to what fell out of it, and others may There are no unnecessary variations. In short, it seems that the secret opinion of “Ozy” had a chance to speak with Narovchatov: “It’s really similar to a literary puzzle, which is something that professional writers are trying to decipher.” If we take “Ozu” as a book of lyrical poems, far from being equal in strength and not in the same world of completion (like many “sketches”), there is no doubt that it is worthwhile and substitutable, and the actions are superior to thoughts destroy the miraculous wistfulness of the thoughts. Why so – what’s in the name on the right?

The last one sings. Those that you hate and hate in others instill hatred in you and in yourself. This moral strength, this triumphant solution without compromise, seems to please justice - they are likely to convict the distant creative ruin of the author of "Ozy"... Ale, it seems, I have already figured out everything that spontaneously prompted me to take up the relevant article, and It's time to finish the day pouches (I am, however, definitely not focusing here on Voznesensky’s recent efforts to create experimental achievements “just for the eyes” in opposition to “reader’s poetry” - and it is important to carefully consider those that the author himself is keen to respect “highly yu joke"?).

Whenever I try to realize how close I am to Voznesensky’s poetry, why I love it, regardless of the author’s many misfortunes, the image of a young scientist, not a physicist, but rather a biologist, who works without baked bacteriological species are removed. He himself tries various vaccines on himself: is it amazing that he himself sometimes becomes infected with the diseases he is fighting against? By the will of Andriy Voznesensky, our common poetry has emerged as one of the most talented twisters of the ideology of the capitalist anti-world. But behind his peculiarity and giftedness, he is far from Juvenal. Lyrically absorbing the screaming contradictions and dissonance of nuclear weapons, he sings and experiences them as the vicissitudes of a “global dirty drama” (Ya. Smelyakov), but at the same time accurately senses their class accents. In pain there are truths (and the lyrical one sings the desire to especially suffer other people’s shares and tears).

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Andriy Voznesensky is a famous and talented author of verses and songs, who knew and loved the entire Radyansky Union, born near Moscow on May 12, 1933.

Ditinstvo

Andriy Voznesensky is a third generation intellectual. His father was one of the largest Russian engineers, a keeper of several hydroelectric power stations, and a Doctor of Technical Sciences.

Pradid was a minister of the church, holding the title of archimandrite. And although the “priestly march” did not happen during the hours of the formation of Radyan’s rule, the boy once again remembered that his ancestors were intelligent, enlightened and important people and was inspired by them.

Mom came from a simple family, but also received basic education. Even if she didn’t spend all her life, she dedicated her people and sons to herself. During the war, they were evacuated to the distant Ural town of Kurgan.

Thinking about that hour, Voznesensky always spoke about what was most important, people were dutifully and respectfully ranked one after another. The kings have begun to value their feelings to those little ones who can and are not afraid to show their feelings widely.

Literary convergence

The boy’s literary talents were revealed very early. I started writing poetry from my very childhood. The rhymes were formed by uncontrollably powerful forces, and in the early works there was already a folding rhythmic little thing. Andriy often wrote for the school newspaper, and even more so on his own.

The fathers wanted his creativity, but they could not please him or criticize him - the insults and stench were far from literature.

Trying to give up an objective assessment of his creativity, even in his late teens, Andriy sent a sheet of paper to his poet Boris Pasternak, who is already at the peak of popularity, and asked him to honestly express his idea about included in the sheet of paper.

To his surprise, he quickly withdrew the evidence in which Pasternak confirmed that the boy is truly talented. The famous singer sings, writing that even for the sake of acquaintance with young gifts and pleasures, the song will continue.

Be careful and measure, as the boy was splintered from his childhood, from one side and made him aware that the fragments of his mastery have always been distinguished by accuracy, clarity, and non-standard images.

Otherwise, it served me badly, since it sounded a lot like criticism of the Stalinist regime. At the top, I was able to depict the incongruity of the calls and extinguishers that lunated from all sides to the everyday realities of the Radian expanse.

In disgrace

Although Voznesensky wanted to obtain architectural illumination for his father’s work, his soul and thoughts were occupied with literature. The first publications appeared after the graduation from the diploma. And immediately the criticism of the Radyan censorship fell upon him. Meanwhile, before the situation became extremely tense, two poetic collections began to emerge.

The editor of the first one paid for it with her own posada. Almost the entire circulation of another Bliskavich was taken away from the closed sale.

However, in those days there was a lot of poetry, literary readings and poetry evenings were often held. The singers gathered on the Arbat and in the future of the Moscow Polytechnic University. Voznesensky Shvidko became popular. Having become acquainted with other young and talented authors who have also experienced harsh criticism and persecution: Yevtushenka, Akhmadulina.

And just as during the rocky days of the Khrushchev branch they had a lot of eyes crushed, then in the early 60s, any manifestation of dissent immediately put people under the radar of the special services. Then the SRSR began the decline of mass emigration. There has been a disappearance of talented scholars, artists, musicians, active literature and mysticism. Voznesensky’s friend and mentor, Boris Pasternak, was responsible for this “purge.”

In 1963, the birth of a poet began to emerge. More importantly, two years before this, he traveled to the United States to hold creative events among Russian emigrants. There was a lot of controversy about the poet. Some respected him as a servant of the KDB, who simply stormed with his rebellious verses to show trouble with the regime of other writers. Other interpretations are that the special services actually followed and followed the orders of Khrushchev himself.

So it was otherwise, for many years, right up to the beginning of the 70s, collections were seen only outside the cordon, public appearances in the USSR did not exist, although there were no independent ones either. During this period, literary and poetic evenings behind the cordon became a vital outlet for him and did not allow him to give up and abandon his creativity.

Song creativity

The beautiful, rhythmic, lyrical verses of the poet easily sounded like music. Before speaking, Voznesensky’s first such evidence came from his marriage with another brilliant bard, the unique Volodymyr Visotsky.

In 1965, the scandalous Theater on Tagantsi staged a whole show, the basis for which was a collection of Voznesensky’s poems “Anti-World”. One of them was Visotsky’s dedication to music, and that’s how the first song was born.

A passionate exponent of poetic creativity was the popular Latvian composer, author of an unhealed number of hits, Raymond Pauls. The creative tandem, which has gone through dozens of rocks, has written a great number of popularly loved works, many of which have reached the repertoire of the Radian diva Alli Pugachova: “A Million of Red Trojans”, “Dance on the Drum” and in.

The real sensation among the spectators was the first Russian rock opera “Juno and Avos”, created by the brilliant director Mark Zakharov. The opera's libreto was written by Andriy Voznesensky, and the music by composer-songwriter Oleksiy Ribnikov. The premiere took place in 1981 at the Leninsky Komsomol Theater, and this film has never left the stage and is warmly received by people watching.

Life and death sings

He sings his entire life in love with one woman - theater scholar and literary critic Zoya Boguslavskaya. The smells lived with the whore for fifty years until the death of the singer. Voznesensky loved life in all its manifestations - from contentment to rising prices, to physically active living, loving swimming, skiing.

All his ancestors passed away from life to a frail age, and Voznesensky himself retained clarity of mind and activity for a long time. At the end of the 90s, the singer’s self-perception sharply deteriorated. The squad carried out a comprehensive examination, which revealed that he had an important genetic disease - Parkinson's disease, which attacks the nervous system.

He sings for more than 10 rocks, gradually weakening, struggling with illness on his own, and all this time the squad that he loves was closely with him. At first he lost his voice, then the muscles in his hands and legs weakened. During the rest of the month of singing, it was important to move on your own. On the first day of 2010, one of our most prominent members passed away. Pokhovanie vin na Novodivichy tsvintari, entrusting the father from the grave.

A. A. Voznesensky was born in 1933. In the 50th century of the 20th century, a new generation of poets passed away in literature, whose childhood passed away during the war, and their youth was wasted in the post-war fates. This increase in Russian poetry was shaped by the vibrant changes in life and the growing self-consciousness of people. Together with the poets of the older and middle generations, the younger authors tried to quickly capture the experiences of life and literature that were taking shape, and to the best of their ability to follow them. Art. joke, initiative action.

The creativity of Andriy Voznesensky developed like a folding path. The extraordinary talent of the singer, the search for new possibilities of the poetic word, immediately attracted the respect of readers and critics. His greatest works of the 50s, such as the poem “Maistra” (1959), the verse “From the Siberian Notebook”, “Report from the State Geological Survey”, convey the joy of work, the optimistic life of a human creator. The lyrical hero of the Voznesensky poem spraga actions, create:

I love the student

I'm dreaming, let's call it a day

A rocket of similar frequency

Let's go to Svetobudova!

However, at that hour I was deprived of enormous maturity and poetic simplicity. At the top of the collections “Parabola” and “Mosaic” (1960), energetic intonations and rhythms, irresponsible imagery and sound writing in places turned into buried formal side of the top.

Sergiy Narovchatov sings, analyzing Andriy Voznesensky’s book “Stained Glass Information Master”, drawing connections between its poetry and the mystique of stained glass. Apparently, the connection between literature and the creative mystique of old, and nowadays the “friendship of the muses” has become even more significant.

A. Voznesensky’s poems “Guy”, “The Beaver’s Cry”, “Song of Vespers” are always haunted by the idea that, by ruining the excess of nature, people destroy and drive home, even worse, into themselves, reacting to the mortal danger of their future on Earth.

Voznesensky’s creativity clearly has moral and ethical jokes. The singer himself senses the need for renewal, first of all, of the spiritual place of poetry. And the main thing from these thoughts is the following series about living the recognition of mystique:

And the most meta poet -

The ice is firmly broken,

We wanted to warm ourselves up from the frost

And drink the words.

This same aspiration was heard in the books “The Oak Leaf of the Cell” (1975) and “Stained Glass Certificates Master” (1976), “I’m Summoning Behind the Dear Hillsides.” The smells began to grow and the appearance of other motifs, figurative touches and details, for example, of a mysterious nature. Stars - "Miles of sorom'ivorous Fatherlandism (colors of slime and threads of sour)..."; “The pear tree is quiet, often alone, I won’t destroy your beauty”; “Pine trees are blooming - candles caught in the fire in the valley of future cones...”; "Hang fresh cherry shavings...". He sings, as if to the congratulations, he knows himself: “I look forward to the lake of beauty of the Russian periphery.”

For the first time, the works of Andriy Voznesensky were published by the Literary Gazette. In the 70s, collections of verses were released: “Shadow to the sound”, “Looking”, “Let the bird go”, “Spokusa”, “Selected lyrics”.

Voznesensky works on works of great poetic form, he wrote songs like “Lonjumeau”, “Oza”, “Ice69”, “Andriy Palisadov” and others. It is natural for us to grow from our tops and to stand in the midst of them, like trees in the midst of bushes. We sing the flow, the images do not get stuck in the process and scrupulous description, and do not want to stall. The space is given in full: “fly like a night cigarette to the television centers beyond the Mur.” At the center of respect is the Hour (from the Great Letter), the epic Hour:

I'm entering into a poem

It's time to enter a new time.

This is how the poem Longjumeau begins.

The singer’s reaction to the present day, life is important – mittyeva, uneasy, the Swede helped and the burning command of his word – wholesome and bezvidmovny. It’s painful, people, poignant and clearly characterizes the poet’s creativity.

All progress is reactionary,

How people crumble.

Andriy Voznesensky also wrote articles on the problems of literature and mysticism, and mostly took up painting; some of his paintings are in museums.

In 1978, in New York, he was awarded the Prize of the International Poet Forum for outstanding achievements in poetry, of which Andriy Voznesensky was awarded the State Prize of the USSR for the book “Stained Glass Certificates Master.”

The vertices of Voznesensky are filled with sound energy. The sounds flow freely, loudly and - what is most important - loudly. This is not a blind game of words, but a persistent youthful breakthrough to the meaning, to the essence.