Vysockij was not content with artistic creativity that was restricted to an intimate or personal scale — the result of factors both external and internal, in- cluding his character, his theatrical training, and a certainty that he would not be published or officially recorded in Soviet Russia. Vysockij was driven to share his art, and the more he immersed himself in others, the more successful he felt it to be. Writing verses was only the first step in this heroic creative process: the artistic feat could only be fully realized in the context of public sharing, in the establishment of consonance between his own feelings and those of others.
Vysockij himself affirmed that his songs assumed semi- definite shape only after having passed muster with his audience: they were measured first by the 61 Three of these songs were performed personally by Vysockij himself. This re- corded Alice, directed by Oleg Gerasimov, was first released in as a double album and, after its great success, reissued almost every year until the early nineties; an MP3 version became available in Will you chicken out at once?
Or will you boldly leap? Perhaps he felt that the heroic feat of performing a song could not be repeated mechanically and that each realization required new effort and new adjustments. Some clarification of this apparent paradox is suggested by Boym : diverse representations of the Russian national character [ The border between bytie and byt seems to parallel the mythical border between Russia and the West.
This is exactly what Vysockij does and it explains his success: he transforms national spirit into true art without sacrificing its national connotations. And by voicing nostalgia for the War and, more generally, for heroic contexts located in other spatial and temporal worlds, Vysockij allowed his public to both accept daily life and to understand it as preparatory to the heroic feat.
Melancholic Humor, Skepticism and Reflective Nostalgia. Svetlana Boym What is freedom? It was delicious and there was a lot of it, but we smelled of onions and went to take a shower.
In the bathroom I felt dizzy from fatigue. I fell on the cement floor, hit my head and fainted. She dried me with a towel, helped me into my clothes, and called the others who took me to my room: there were cottages where we stayed. I was fortunate that her father was a doctor, staying with her.
He examined me — there was a bruise on my head. He told me to stay in bed a whole week, and they had the delicious gefilte fish. They liked it, and I gained the title of an excellent cook. In , we received a four-bedroom apartment with all comforts for me, my husband, my son, and my parents.
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She died that same year. We buried her in the Jewish cemetery without following the Jewish ritual. After my mother died, I composed a concert for violin and orchestra and dedicated it to her memory. Lyova finished school in and entered the music history department of the Conservatory in Kishinev. After finishing his first year he decided to go to Moscow Conservatory. It was hard, but he managed. At that time I had to have training in Moscow for six months.
We both stayed in the hostel of the Conservatory on Malaya Gruzinskaya Street. I had a room for myself, of course, and Lyova shared his room with two guys from Central Asia. They are all excellent cooks, and the guys taught Lyova to cook. He makes such delicious plov dishes! After he graduated from the Conservatory Lyova was taken to the army. He served in the music band of the Moscow regiment. He sang in the choir. After the army he married his former co-student Mila Gordiychuk, a Ukrainian girl.
Mila and her mother lived in a one-bedroom apartment in Moscow. Her father had left them a long time ago. I bought many pink roses that I kept in the bathroom of the hotel room where my husband and I were staying. After the wedding, Lyova and Mila moved to Kishinev. Lyova went to teach in a music school. We rented an apartment for them.
In my granddaughter, Yulia was born. I missed them a lot and traveled to Moscow whenever I had the chance. Oleg Melnik, chief ballet master of the Kishinev Opera and Ballet Theater, was going to stage this ballet, but when the score was ready, he happened to be chief ballet master in Samarkand [today Uzbekistan], he somehow had problems with the administration of the Kishinev Theater.
Some time later Melnik sent me an invitation to the first night. I went there two days before the performance. Since there was no direct flight to Samarkand, I had to take the flight Kishinev-Tashkent with stopovers in Tbilisi [today Georgia] and Ashgabat [today Turkmenistan]. In Tashkent I was to take another plane to Samarkand. From the airport I rushed to the theater. I went to the dress rehearsal. Then I went to wash and change in the hotel and rushed back to the theater.
The first night was successful. I took a tape of the performance and brochures and went back to Kishinev. I showed these to the director of our Opera theater and he got very interested. He started preparations for the performance. We were used to the Soviet way of life. As for our spiritual life, Yefim or I never felt any suppression. My husband collected classical literature.
We went to all the performances in the Opera Theater, and symphonic concerts. We only went there when producers whom we knew invited us to the first nights. My husband and I lived for 52 years together, longer than a golden jubilee.
I married for love, we lived in harmony and we were united by profession. Yefim was a smart and wise man, talented in his field, and he cared about my success. Yefim taught in the music school for many years and later worked in the Philharmonic. He lectured on the history of Moldovan music in the Kishinev College of Arts.
Книги На Иностранных Языках: Современная Проза
He specialized in Moldovan music, wrote many articles for the press, presented regular radio programs in Moldovan that he knew well. He had a strong will and had a goal to polish the Moldovan language to perfection.
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He understood that this was the only way for him to describe the cultural life of Moldova in every detail. My husband and I never cared about everyday comforts: we were more interested in spiritual life.
Книги На Иностранных Языках: Современная Проза
It was rather difficult at that time. The owner of the furniture store, whose son, a pianist, entered the Moscow Conservatory with our son Lyova, helped us to get it.
He made arrangements for me to buy this set of furniture without having to wait in line. I bought another carpet for my living room before the New Year , just because the old one got very shabby.