Текст песни Сурган Валерий - Помню, как в памятный вечер
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Помню, как в памятный вечер Падал платочек твой с плеч,
Как провожала и обещала Синий платочек сберечь.
И пусть со мной Нет сегодня любимой, родной,
Знаю, с любовью ты к изголовью Прячешь платок дорогой.
Письма твои получая, Слышу я голос родной.
И между строчек синий платочек Снова встает предо мной.
И часто в бой Провожает меня облик твой,
Чувствую, рядом с любящим взглядом Ты постоянно со мной.
Сколько заветных платочков Носим в шинелях с собой!
Нежные речи, девичьи плечи Помним в страде боевой.
За них, родных, Желанных, любимых таких,
Строчит пулеметчик за синий платочек, Что был на плечах дорогих!
++++++++++++++
Счастливая и необычная судьба у этой песни: она родилась дважды. А чтобы разобраться, как это случилось, давайте перенесемся в довоенный 1939 год, в дни, когда впервые прозвучала ее незатейливая мелодия.
Именно тогда, спасаясь от фашистской неволи, в Советский Союз приехали участники популярного польского эстрадного коллектива «Голубой джаз». Они выступали с концертами в Белостоке, Львове, Минске и других городах.
Весной 1940 года «Голубой джаз» гастролировал в Москве. Концерты его проходили в саду «Эрмитаж». На одном из них побывал поэт и драматург Я. М. Галицкий.
Среди многочисленных мелодических импровизаций композитора и пианиста джаз-оркестра Ежи Петерсбургского, прозвучавших в концерте, одна особенно понравилась ему. И тут же, во время концерта, он подтекстовал понравившуюся мелодию. Слова про девичий синий платочек наполнили ее новым смыслом, как бы вдохнули жизнь.
После концерта поэт познакомился с композитором, показал ему набросок своих стихов, и через несколько дней состоялась премьера песни. «Синий платочек» в сопровождении «Голубого джаза» спел его солист Станислав Ляндау.
Вряд ли подозревал тогда Яков Маркович Галицкий (1891—1963) — автор многих пьес, с успехом шедших в те годы на сценах столичных театров, что не им, а именно этому скромному его поэтическому опыту предстоит долгая жизнь. Песню включили в свой репертуар многие известные певицы и певцы: Л. Русланова, И. Юрьева, В. Козин.
На пластинку в довоенные годы «Синий платочек» записан был только однажды. На этикетке пластинки, выпущенной Ленинградской фабрикой, указаны авторы слов и музыки — Я. Галицкий и Е. Петерсбургский, исполнительница — популярная в те годы певица Е. Юровская и ее аккомпаниатор — пианист Б. Мандрус.
Слушаешь сейчас эту запись и невольно задаешься вопросом: «Ну чего в ней особенного, в этой песне?»
Думается, правильно ответил когда-то на этот вопрос композитор Д. Б. Кабалевский. Возражая противникам «Синего платочка» (а их в свое время было немало), Дмитрий Борисович заметил: «Вопрос популярности «Синего платочка» очень ясный. Этой популярностью он пользуется, по-моему, по трем причинам:
— первая причина — та, что он удовлетворяет в каком-то смысле потребность в лирической песне, которая велика в народе;
— вторая причина — та, что в нем есть абсолютное сочетание текста и музыки.
В тексте этой песни нет ни героев, ни героических подвигов, ничего, кроме чистой лирики. Эта лирика так же элементарна в своем выражении, как элементарна и музыка песни. Но отсутствие противоречия между текстом и музыкой делает эту песню очень органичной;
— третья причина — та, что при всей примитивности музыка этой песни идет от традиции старинного русского вальса — вальса, на который имеется спрос…»
Говоря о «примитивности» музыки, Дмитрий Борисович, по всей вероятности, имел в виду ее простоту, ту самую простоту, которая сделала «Синий платочек» легко запоминаемой, близкой, понятной и дорогой всем нам песней.
Великая Отечественная война вызвала к жизни новые песни, которые нужны были солдатам первых эшелонов. отправлявшимся на фронт, первым призывникам и добровольцам. ополченцам, толпившимся на сборных пунктах. И такие новые песни, походные, строевые, лирические, сочинялись нашими композиторами и поэтами, публиковались в газетах, выходили отдельными листовками, исполнялись по радио, звучали с экрана в боевых киносборниках: песни- лозунги, песни-призывы, выразившие чувство всенародного гнева, ярости, стремление к борьбе, к отпору врагу.
Со старыми же песнями произошла странная и неожиданная метаморфоза: мирные, довоенные они стали первыми военными, обрели как бы второй, не существовавший прежде смысл, ставший главным. Повествуя о любви и любимых, о разлуках и встречах, о родном доме и русской природе, они зазвучали как рассказы, как напоминание о тех мирных днях, той мирной жизни, за возвращение которой шла война, ради которой солдаты воевали и жертвовали собственной жизнью.
Заново родившись, песни эти помогали воевать. Они стали символом и своеобразным залогом того, что мирное время вернется, что его надо вернуть, сметя захватчиков с родной земли.
Вспоминая об этом времени, поэт А. Сурков писал:
«Уже с первых дней войны стало слышно, что рядом с коваными строками «Идет война народная, священная война» в солдатском сердце теплятся тихие лирические слова песенки «Синенький скр
I remember how on a memorable evening My handkerchief fell from my shoulders,
As accompanied and promised to save the blue handkerchief.
And let it be with me No, today's beloved, dear,
I know, with love you're at the head. You're hiding a handkerchief dear.
Receiving your letters, I hear my native voice.
And between the lines of a blue handkerchief Again stands before me.
And often in battle My face sees me,
I feel, next to a loving gaze You are always with me.
How many treasured handkerchiefs Nosim in his greatcoats with him!
Delicate speeches, maiden shoulders We remember in battle combat.
For them, relatives, Wanted, loved ones,
He scribbles a machine gunner for a blue handkerchief, What was on his shoulders dear!
++++++++++++++
A happy and unusual fate for this song: she was born twice. And in order to understand how this happened, let's move to the prewar 1939, the days when its first unpretentious melody sounded.
It was then, fleeing from fascist bondage, the participants of the popular Polish pop group "Blue Jazz" came to the Soviet Union. They performed with concerts in Bialystok, Lviv, Minsk and other cities.
In the spring of 1940, "Blue Jazz" toured in Moscow. His concerts took place in the Hermitage garden. One of them was visited by the poet and playwright Ya. M. Galitsky.
Among the numerous melodic improvisations of the composer and pianist of the Jerzy Petersburgh jazz orchestra, which sounded in the concert, one particularly liked him. And then, during the concert, he implied the melody that you liked. The words about the girl's blue handkerchief filled her with a new meaning, as if inhaling life.
After the concert the poet got acquainted with the composer, showed him a sketch of his poems, and a few days later the premiere of the song took place. "Blue Handkerchief", accompanied by "Blue Jazz" sang his soloist Stanislav Liangdau.
It was hardly suspected at that time that Yakov Markovich Galitsky (1891-1963) - the author of many plays, who were successful in those years on the stages of the capital's theaters, that it is not for them, but this modest poetic experience, that will have a long life. Many famous singers and singers have included the song in their repertoire: L. Ruslanova, I. Yurieva, V. Kozin.
On the record in the pre-war years, the "Blue Handkerchief" was recorded only once. On the label of the plate produced by the Leningrad factory, authors of words and music are mentioned - J. Galitsky and E. Petersburg, the singer E. Yurovskaya, popular in those years, and her accompanist - pianist B. Mandrus.
Listen to this record now and involuntarily ask the question: "Well, what's special about it, in this song?"
It seems that the composer DB Kabalevsky once correctly answered this question correctly. Objecting opponents of the "Blue Handkerchief" (and there were a lot of them at the time), Dmitry Borisovich remarked: "The question of the popularity of the Blue Handkerchief is very clear. This popularity he uses, in my opinion, for three reasons:
- The first reason is that he satisfies in some sense the need for a lyric song that is great among the people;
- the second reason is that it contains an absolute combination of text and music.
In the text of this song there are no heroes, no heroic deeds, nothing but pure lyrics. This lyric is just as elementary in its expression as the music of the song is. But the absence of a contradiction between the text and the music makes this song very organic;
- the third reason is that for all the primitiveness of the music of this song comes from the tradition of the ancient Russian waltz - waltz, which is in demand ... "
Speaking about the "primitiveness" of music, Dmitry Borisovich, in all probability, had in mind its simplicity, the very simplicity that made the "Blue Handkerchief" an easy-to-remember, close, understandable and dear to us all song.
The Great Patriotic War brought to life new songs that were needed for soldiers of the first echelons. sent to the front, the first recruits and volunteers. militiamen, crowded at gathering points. And such new songs, marching, drill, lyric, were composed by our composers and poets, published in the newspapers, published in separate leaflets, were played on the radio, sounded from the screen in battle cassettes: song-slogans, song-appeals expressing feelings of national anger, rage , striving for struggle, for repelling the enemy.
With the old songs, a strange and unexpected metamorphosis took place: peaceful, pre-war, they became the first military, they found a second meaning, which did not exist before, which became the main one. Talking about love and loved ones, about separation and meetings, about their home and Russian nature, they sounded like stories, as a reminder of those peaceful days, of a peaceful life for the return of which there was a war for which soldiers fought and sacrificed their own lives.
Having been born again, these songs helped to fight. They became a symbol and a kind of guarantee that peacetime will return, that it must be returned, sweeping away the invaders from their native land.
Recalling this time, the poet A. Surkov wrote:
"Already from the first days of the war, it was heard that next to the forged lines" There is a people's war, a holy war "in the soldier's heart the quiet lyrical words of the song" Sinenky Skr
As accompanied and promised to save the blue handkerchief.
And let it be with me No, today's beloved, dear,
I know, with love you're at the head. You're hiding a handkerchief dear.
Receiving your letters, I hear my native voice.
And between the lines of a blue handkerchief Again stands before me.
And often in battle My face sees me,
I feel, next to a loving gaze You are always with me.
How many treasured handkerchiefs Nosim in his greatcoats with him!
Delicate speeches, maiden shoulders We remember in battle combat.
For them, relatives, Wanted, loved ones,
He scribbles a machine gunner for a blue handkerchief, What was on his shoulders dear!
++++++++++++++
A happy and unusual fate for this song: she was born twice. And in order to understand how this happened, let's move to the prewar 1939, the days when its first unpretentious melody sounded.
It was then, fleeing from fascist bondage, the participants of the popular Polish pop group "Blue Jazz" came to the Soviet Union. They performed with concerts in Bialystok, Lviv, Minsk and other cities.
In the spring of 1940, "Blue Jazz" toured in Moscow. His concerts took place in the Hermitage garden. One of them was visited by the poet and playwright Ya. M. Galitsky.
Among the numerous melodic improvisations of the composer and pianist of the Jerzy Petersburgh jazz orchestra, which sounded in the concert, one particularly liked him. And then, during the concert, he implied the melody that you liked. The words about the girl's blue handkerchief filled her with a new meaning, as if inhaling life.
After the concert the poet got acquainted with the composer, showed him a sketch of his poems, and a few days later the premiere of the song took place. "Blue Handkerchief", accompanied by "Blue Jazz" sang his soloist Stanislav Liangdau.
It was hardly suspected at that time that Yakov Markovich Galitsky (1891-1963) - the author of many plays, who were successful in those years on the stages of the capital's theaters, that it is not for them, but this modest poetic experience, that will have a long life. Many famous singers and singers have included the song in their repertoire: L. Ruslanova, I. Yurieva, V. Kozin.
On the record in the pre-war years, the "Blue Handkerchief" was recorded only once. On the label of the plate produced by the Leningrad factory, authors of words and music are mentioned - J. Galitsky and E. Petersburg, the singer E. Yurovskaya, popular in those years, and her accompanist - pianist B. Mandrus.
Listen to this record now and involuntarily ask the question: "Well, what's special about it, in this song?"
It seems that the composer DB Kabalevsky once correctly answered this question correctly. Objecting opponents of the "Blue Handkerchief" (and there were a lot of them at the time), Dmitry Borisovich remarked: "The question of the popularity of the Blue Handkerchief is very clear. This popularity he uses, in my opinion, for three reasons:
- The first reason is that he satisfies in some sense the need for a lyric song that is great among the people;
- the second reason is that it contains an absolute combination of text and music.
In the text of this song there are no heroes, no heroic deeds, nothing but pure lyrics. This lyric is just as elementary in its expression as the music of the song is. But the absence of a contradiction between the text and the music makes this song very organic;
- the third reason is that for all the primitiveness of the music of this song comes from the tradition of the ancient Russian waltz - waltz, which is in demand ... "
Speaking about the "primitiveness" of music, Dmitry Borisovich, in all probability, had in mind its simplicity, the very simplicity that made the "Blue Handkerchief" an easy-to-remember, close, understandable and dear to us all song.
The Great Patriotic War brought to life new songs that were needed for soldiers of the first echelons. sent to the front, the first recruits and volunteers. militiamen, crowded at gathering points. And such new songs, marching, drill, lyric, were composed by our composers and poets, published in the newspapers, published in separate leaflets, were played on the radio, sounded from the screen in battle cassettes: song-slogans, song-appeals expressing feelings of national anger, rage , striving for struggle, for repelling the enemy.
With the old songs, a strange and unexpected metamorphosis took place: peaceful, pre-war, they became the first military, they found a second meaning, which did not exist before, which became the main one. Talking about love and loved ones, about separation and meetings, about their home and Russian nature, they sounded like stories, as a reminder of those peaceful days, of a peaceful life for the return of which there was a war for which soldiers fought and sacrificed their own lives.
Having been born again, these songs helped to fight. They became a symbol and a kind of guarantee that peacetime will return, that it must be returned, sweeping away the invaders from their native land.
Recalling this time, the poet A. Surkov wrote:
"Already from the first days of the war, it was heard that next to the forged lines" There is a people's war, a holy war "in the soldier's heart the quiet lyrical words of the song" Sinenky Skr