Nasty weather, exchange rates, new laws, housing prices, bad cafes, dogs pooping on lawns, mediocre musicians, idiot neighbors - Belarusians have more than enough reasons to whine. It seems that every day the wave of nationwide moaning is growing. Complainers with us - it's almost a profession. A positive outlook on anything is a sign of infantilism, bad taste. But, apparently, the universe does not tolerate unipolarity - in contrast to a thousand whiners, dozens of bright, enterprising guys appear who say: all problems lie exclusively in us, and they can only be solved on our own, stop complaining, it's time to get down to business.
The music scene is the quintessence of the Belarusian depression. How to overcome despondency and mediocrity? What can be done to make our musicians brighter, livelier and charge everyone around with their creativity? Many people asked such questions, but they did not find a panacea. But there are examples of how performers develop, create, conquer peaks - and do it effortlessly, despite all the problems that the majority is concerned about. It turns out it's possible! ABOUT inexhaustible source cheerfulness - today's conversation.
Who is this?
Vitaly Voronko is a multiple winner of classical international music competitions. But they began to recognize the artist when he put aside Rimsky-Korsakov and Liszt, put on a superhero costume and began to rock at numerous competitions contemporary music not only in Belarus, but also far beyond its borders. The performance of the Bayan Man, who was born a year ago, literally always becomes an event. And if the jury sometimes does not indulge him with high marks, the audience present in the hall always expresses its gratitude with a storm of applause.
I was always amazed at how disgusting Belarusians treat their performers. You go to the same Poland - they adore their rappers, rockers, popsaries - yes, everyone! Literally wear them on your hands. The same picture in Lithuania, Germany, Latvia. Believe me, I don’t whine at all, I just ask myself: why do you people dislike your countrymen so much? Why not ready to support them?
- So, maybe the reason is banal - there is nothing to adore them yet?
Well, here's where to look. After all, it is a reciprocal process. The musician plays, his work is praised, he is inspired and ready to play better, and so on. But there are problems, of course. Let's start with the fact that we still do not know how to create a high-quality product to the end. Maybe it's about budgets, but most likely it's about ideas. In addition, you will agree that we still do not trust the Belarusian production. In the sense of milk there, butter, tractors - this is still possible, but something more sublime - music, cinema, art- it's kind of like our brother and beyond his strength.
But at the same time, literally all Belarusians have a huge potential. But we are, s ... ah, lazy! The state gave many musicians classical education. Whatever one may say, it simply obliges to look at the world a little wider, to strive to experiment, fantasize, develop. And instead, they choose the easiest way - they “loose” what they know how, without trying to strain, change and move forward. Many graduates of musical educational institutions play music they don't like at all. Why? Probably, "prytsyarpelissya." To change a little, to try something new for them is akin to a feat. Think: man easier for years routinely plucking the strings, strumming the keys, thinking with disgust that tomorrow you will again rise to the same stage, just not to strain your brains, just not to enter a zone of discomfort in which you have to decide something on your own.
- It is not so easy to create a quality product with empty pockets...
So you have to start somewhere! My main place of work - by distribution - brings a salary of 1.5 million Belarusian rubles, I drive an old rusty fourth "golf", I live in a rented apartment. Probably, by collecting the money earned on "hack-work", I could buy a newer car, save it in reserve. But instead for Last year I have been to Australia, UAE, Poland, Lithuania, Austria, Norway, Britain. Money must be invested in development, to overcome our generational mentality of fear for the future. Do you have arms and legs? Is there a head? So you will earn. What is there to be afraid of?
Of course, someone will say that here, in Belarus, it is impossible to build your own business, create and so on. But guys, let's get it right. This land and these people gave you opportunities at the start: education, initial capital ... In general, according to by and large, whiners who find fault with their country, after all, you can’t re-educate. Therefore, it is necessary, finally, for all of us who love our country to tell them: “Don't like Belarus? So why are you still here? Get down, no one is holding you. Can't get off? Then think: why? Maybe because no one needs you there either?”
- That is, the best, in demand, will leave, and only mediocrity will remain here?
Why are we so afraid that someone will leave us? If they want to leave, will you chain them up? It is necessary to look wider: other countries are a broadening of horizons. Who has the opportunity to study abroad - study. Someone can immediately "get into a fight" - try to perform at competitions, TV shows, or just play on the street - go for it! Probably half of Minsk residents have Schengen visas, a ticket to Vilnius costs quite a bit. And there low-costs give huge room for maneuvers. I bought a round trip ticket to Norway for €9. I climbed into the fjords in a superhero costume and kind of felt like one. No money? Economic crisis? Come on, guys, admit it: the problem is only in the heads! I brought with me a sea of energy, inspiration and ideas.
And then he also flew to Australia, performed at the Pacific Bayan World Cup - and won it. I got into debt up to my ears, but it was worth it, believe me. I believe that desire moving forward changes the world and adjusts it to you, sometimes in the most amazing, I would even say paradoxically way. Here's an example for you. I came to Australia for ten days. In order not to waste time in vain, I received a license street musician(for this I had to pass an exam before the municipal commission). I go out into the street to play, for the sake of laughter I drag out "Without you, without you ...". And then he comes up to me and starts to sing along ... who do you think? Stas Mikhailov! Let's just say I'm not a big fan of him. But it seems to me that this universe sends me signs, they say, you are doing everything right, just don’t stop, don’t ask questions like “How can I start doing something?”, but do it.
It would be possible to start a career as a street musician on the wrong side of the world ... That would benefit his native country.
About nine years ago, I only tried to play in transition in Minsk. I bought myself an expensive button accordion, I was eager to try it out. We were walking with a saxophonist friend, stopped - and let's play. It's 11 degrees below zero outside. Immediately people began to gather, and in 15 minutes of the game we earned $20 at the current rate. I think: this is a cool business! But it quickly ended, we were chased away by the police.
Indeed, very many talented musicians start with street concerts. This hones the ability to work with the audience, to feel it. Now in Moscow they have adopted rules according to which you can play on the street only after you pass a special exam. Personally, I think it's very cool idea. Having such permits, our guys could play, without fear of reprisals from the police, play, make people happy, earn money and gain experience. Everyone would benefit from this. By the way, here is a real step towards developing the Belarusian show business. The state could even make money by accepting a small fee for such permits.
Belarusians are constantly "driven" about whether we won Eurovision or not. You tried to get into this competition three times, but you didn’t go beyond the finals of the selection, then you tried your hand at Russian, Ukrainian and Polish music competitions. Everywhere these attempts ended in failure. Where do the forces come from for more and more new visits?
Why do you think these performances were unsuccessful? I "lit up" in front of the audience, got high from the performance. Some of the videos have received over a million views on YouTube. So there is a result. Moving on: my last performance at British competition Britain's Got Talent was nevertheless successful. I went to the semi-finals and will soon fight for the right to be the first. You are right when you say: the Belarusians are “driven” about the victory, they are not so much rooting for their own people as they are waiting for results from them. I get the feeling that, without creating a damn thing, we just want to guess the recipe for success. That doesn't happen. In order to find it, you need to shovel a sea of material, you need a critical mass in which a star is born. And participation, experience, fun are important for me. I get all of this.
But let's face it. You stand up for raising Belarusian music, and you go to perform in Europe ...
As I said, I'm going there to gain experience. You can generate ideas in any country in the world, but still, the starting point will be here, at home. It all started with her, and if you are a holistic person, everything will continue and end here. Moreover, Belarus musically- just an unplowed field. Today there is virtually no competition. Look, eminent people are coming here foreign performers hoping to make some money. Not just like that! My friends from Europe, looking at the Belarusian music market, say: "Wow! This is just an ideal country to start and develop.” We, Belarusian performers, only need to plow like the visiting "stars", and everything will be just fine.
- Where did the "Bayan Man" come from?
Remember, on the TNT channel, a program flashed in which the superhero "Bruise Man" appeared? At first it seems that this is a pure “rzhak”, but if you think about it, the image is quite deep. In Russia, with its current problems (as, by the way, in our country), the main trouble is that everyone is waiting for the arrival of heroes who can change the world. But no one sees himself in their role. Of course, it’s scary, after all, you ask yourself the question: why am I, in fact, special in order to stand out like that, to declare myself? But in the end, everything will turn around only when those who have nothing to lose begin to become heroes. For example, the same "bruises" - they really can. Everyone can. The rest, looking at "mere mortals" ready for exploits, will finally understand that there is a hero in each of us, everyone has superpowers. I'm playing the button accordion well - and that's how the “Man-button accordion” turned out. Consider this my protest against boredom, lack of initiative and laziness. Is it difficult for you to tear your w ... from the chair? Then the "Bayan Man" is coming to you!
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BOYAN THE THINGS - SINGER AND STORYTORY Boyan or Bayan is an ancient Russian character, which is mentioned in the Word about Igor's regiment. Boyan is an ancient Russian singer and storyteller. Besides, most likely, it was a real man, which we will discuss below, in the Slavic faith, he became practically a Pagan Saint and even God, the patron of arts and foresight. No wonder. Each religion has its own saints, who after death, for one reason or another, are exalted as miracle workers or people close to God. The same thing happened with Boyan, who during his lifetime composed stories, music and had a prophetic gift. In some places, you can find that Boyan is the God of music, poetry and creativity in general, as well as the grandson of the pagan God Veles. Initially, linguists refer the word Boyan to several variants. Boyan - common Old Slavic name, which has a double designation: 1. fearsome and 2. witchcraft, spells, sorcerer; Puyan - of Bulgarian-Turkic origin, means - Rich; Bayan - Kazakh origin, meaning - to narrate, tell; Baalnik, baanie - to tell fortunes, to speak; Bayan is a sorcerer, wizard, sorcerer. The image of the poet is associated with both meanings of his name and is understood as a magician storyteller. After the name of the narrator Boyan became mythological, it began to mean exactly the legend, conversations and songs - bayan, bayan, fable, bayat, lull, etc. In the literature of the 20th century, Boyan became a household name for indicating a Russian singer and gusliar. Karamzin introduced Boyan to the Pantheon of Russian Authors as "the most glorious Russian poet in antiquity." The most common point of view of researchers of Russian history is that the ancient Russian Boyan the Prophet was a court singer of the Russian princes of the 11th century (presumably the Chernigov-Tmutorokan princes). The Word about Igor's Campaign says that Boyan sang of three princes: Mstislav Vladimirovich the Brave, Yaroslav the Wise and Roman Svyatoslavich (Yaroslav's grandson). Vseslav of Polotsk is also mentioned, whom Boyan blamed for capturing Kyiv. Here we see a manner typical for court singers of composing songs of praise and songs of blasphemy. He was the author and performer of his songs, he sang and played a musical instrument himself. Here is one of the refrains of his song about Vseslav of Polotsk: "Neither cunning, nor much, nor a bird is far from the judgment of God." Other words that the author of the story quotes: "Begin your song according to the epic of this time, and not according to Boyan's plan", "It is hard for the head except for the shoulder, anger for the body except for the head." However, all the information on this subject is taken from one source, to trust which or not - scientists are still arguing. The author of the Word about the Regiment says that Boyan is not only a singer, but also a prophetic person who is capable of being a werewolf - "Boyan is prophetic, if anyone wants to create a song, then his thoughts will spread over the tree, gray wolf on the ground, a shiz eagle under the clouds. "The author calls him the grandson of Veles, from whom he was endowed with high poetic abilities. In accordance with this statement, the figure of the ancient Russian storyteller became not only historical and memorable, but also related to the Slavic Pantheon of the Gods, having divine origin. Modern pagans and Slavers of the Ancient Gods often honor Boyan at the temples and ask him to endow them with creative talent, inspiration, good luck in various types arts. Gusli Slovishi It is worth mentioning that a very old Boyana Street has been preserved in Veliky Novgorod, probably on behalf of a Novgorodian who lived here. On this occasion, there are a lot of assumptions, one of which is that Boyan was the same Novgorod Magus Bogomil. B.A. Rybakov offers us a very interesting study. This story refers to the baptism of Novgorod in 988. The high priest of the Slavs, Bogomil, who lived in Novgorod, actively resisted the planting of a new faith by Vladimir and raised a real rebellion. Unfortunately, Dobrynya and Putyata defeated the resistance of Novgorod, killed many people, crushed idols and temples, and baptized others by force. So, that same priest of Bogomil was called the Nightingale, nicknamed so from his eloquence. Bojan was also called a nightingale. Later, in the Novgorod Land in a layer dating back to 1070-1080, a harp was found with the inscription "Slovisha" i.e. Nightingale, which supposedly belonged to the same priest and sorcerer Bogomil-Nightingale. All this, and also the almost identical time of existence of both of them, gives us the right to make assumptions that Bogomil and Boyan could be one and the same person. photo 3 - Gusli Gusliar Slovishi (drawing) photo 4 - Monument to Boyan in the city of Trubchevsk
Boyan(XI century) - Old Russian poet-singer. As a "creator of songs" B. is named in the beginning of "The Tale of Igor's Campaign" (see.
The author of "The Tale of Igor's Campaign"): "Prophetic boyanbo, if anyone wants to create a song, then he will spread his thoughts along the tree, gray volk on the ground, shiz eagle under the clouds ...". The author of the Lay recalls B. seven times in his work. In addition to the "Word", B. is mentioned in the "Zadonshchina". In the interpretation of the name B. from the very beginning of the discovery of the Lay, two main trends were identified: 1) this is the proper name of a particular ancient Russian poet-singer; 2) it common noun denoting a singer, poet, storyteller in general. In the first edition of the Lay, in note. b on p. 2 B. is called "the most glorious Russian poet in antiquity." In the original form of this page, it was said that “under Rurik or Svyatoslavl, his lyre thundered, it’s impossible to know by anything”; after reprinting her considerations about the time of B.'s life, they were formulated even more vaguely: "when and under which sovereign the lyre rattled, it is impossible to recognize him by anything." A similar characterization of B., but in a highly romanticized form, was given by N. M. Karamzin in the Pantheon of Russian Authors (1801): “We do not know when Boyan lived, and what was the content of his sweet hymns; but the desire to preserve the name and memory of the most ancient Russian poet made us depict him at the beginning of this edition. He listens to the singing nightingale, he will try to imitate him on the lyre ”( Karamzin N. M. Op. SPb., 1848, vol. 1, p. 653). However, already in the notes to the "Word" in the papers of Catherine II, the name B., on the one hand, was perceived as his own (here it was even noted that "from the consequences of this story it is clear that he sang the exploits of Prince Vseslav"), but, on the other - it was immediately interpreted as a common noun: “This name Boyan comes, as you need to think, from the ancient verb bai, I say: therefore, Boyan is nothing more than a razkaschik, a wordsmith, a whitia” (see: Dmitriev L. A. The history of the first edition of "The Tale of Igor's Campaign". M.; L., 1960, p. 326). The idea of B. as a specific "orbit" of antiquity and at the same time as a generalized image of a poet-singer in general was characteristic of early XIX V. A. Kh. Vostokov, in the notes to his poetic story "Svetlana and Mstislav" in "Lyrical Experiences" (1806), wrote that he, following V. T. Narezhny, believes that Russian poets, who "should have been at the court of the ancient sovereigns”, were called “Bayans”. Vostokov notes that “the Tale of Igor’s Campaign” does not mention this, mentioning only one Bayan as own name; but is it not possible to assume that the aforementioned songwriter is superiorly named by the common name of Bayan, i.e.: the fable, the whirlwind, the storyteller ”(quoted from the ed.: Vostokov A.X. Poems. L., 1935, p. 391 (Poet's Library)). B. Pushkin understands the same name in “Ruslan and Lyudmila” - he has both a proper name and a common noun: “Everyone is silent, listening to Bayan ...”, “And the loud strings of Bayanov / They will not talk about him!” ( Pushkin A. S. Full coll. op. Academy of Sciences of the USSR, 1937, vol. 4, p. 7, 42). Only poetic symbol considered B. Sun. Miller: “Boyan replaces the muse of epic poets for the author of The Lay” ( Miller. Look, p. 123-124), “At the beginning of the Lay, Boyan is introduced as a poetic ornament, and not as historical person: the name of a prophetic poet, a descendant of a deity, should decorate the work of the author, exalt him in the eyes of readers ”(p. 125). According to Miller, "there is not a single trait that could be a real characteristic of historical singer and, moreover, Russian, the predecessor of the author of the Lay” (p. 121). The very name B. Miller considers not Russian: “Boyan is a Bulgarian person and got into the Slovo from a Bulgarian source” (p. 130). The assumption about the Bulgarian origin of the name B. was expressed even before Vs. Miller: Yu. Venelin believed that B. "The Words about Igor's Campaign" was the Bulgarian prince Boyan Vladimirovich (d. in 931), who was known among the people as a sorcerer ( Venelin YU. Critical study on the history of the Bulgarians. M., 1849, p. 263-265). However, back in 1844, V. G. Belinsky, in the sixth article on Pushkin, analyzing “Ruslan and Lyudmila”, wrote that Pushkin, considering the word B. “equivalent” to such words as “skald, bard, minstrel, troubadour, minnesinger "," I shared the error of all our philologists, who, having found in the prophetic button accordion, the nightingale of the old time ... "concluded from this that the Homers of ancient Rus' were called accordions." Belinsky argued that "the meaning of the text of the Lay clearly shows that Bayan's name is his own, and by no means a common noun." At the same time, Belinsky noted that “The accordion “Words” is so vague and mysterious that even witty guesses cannot be built on it” ( Belinsky IN. G. Sobr. op. M., 1955, v. 7, p. 365-366). At present, it can be considered generally accepted that B. is a proper name that belonged to a poet-singer, the predecessor of the author of the Lay. At the same time, there is every reason to assert that we have a number of not only guesses, but witty and very convincing hypotheses about B. Doubt about the existence old Russian name B. was the basis of the assumption, first expressed and substantiated by A. Veltman in 1842, according to which the name B. is a distorted name of Jan. The Tale of Bygone Years mentions the name of Yan Vyshatich several times: reporting on his death in the 90th year of his life under 1106, Nestor writes that he heard many stories from Jan Vyshatich, which he wrote down from his words in his chronicle. Veltman believes that in the original text of the Tale of Igor's Campaign, the name of Yan was preceded by the particle "bo", at some stage of rewriting the text of the Lay, the scribe combined this particle with the name "Yan" and it turned out "Boyan". The possibility of distorting the name of Jan Vyshatich in B. "Words" was admitted by A. V. Loginov and L. V. Cherepnin ( Logins A. IN. historical research Legends about the campaign of the Seversky prince Igor Svyatoslavich against the Polovtsians in 1185. Odessa, 1892, p. 89-91; Cherepnin L. IN."The Tale of Bygone Years", its editions and previous ones chronicles. - IZ, 1948, No. 25, p. 328-329). However, there is no reason to see in the name B. a distorted spelling of some other Old Russian name or to look for this name in non-Russian sources (besides the indicated one, a number of Bulgarian characters with the name “Boyan” were assumed) there are no grounds. E. V. Barsov, who spoke sharply against the hypothesis of Vs. Miller, cited a number of data indicating that the name B. existed in Ancient Rus' (see: Barsov. A word about Igor's regiment, vol. 1, p. 338-339). Historical and archaeological finds of recent times not only confirmed the existence of the name B. in Ancient Rus', but testify to its fairly wide distribution. The NIL mentions "Boyanya" street, in the Row charter of Teshata and Yakim (1261-1291) the name of Boyan's hearsay is named (Charters of Veliky Novgorod and Pskov. M .; L., 1949, p. 317). The name "Boyan" is found in three Novgorod birch bark letters (one - 80s of the XI century, two - XII century) (see: Artsikhovsky A. V., Yanin IN. L. Novgorod letters on birch bark: From the excavations of 1962-1976. M., 1978). Finally, an inscription (graffito) was found on the wall of Kyiv's Sophia, which presumably can be identified directly with B. "Words about Igor's Campaign". This inscription informs about the purchase by the princess "Vsevolozha" (i.e., the wife of Prince Vsevolod) of the "land of the Boyans" (the land that once belonged to some Boyan). S. A. Vysotsky, who opened the inscription, dates it to the second half of the 12th century. and suggests that this land "once had something to do with Boyan" The Tale of Igor's Campaign "( Vysotsky WITH. A. Old Russian inscriptions of St. Sophia of Kyiv XI-XIV centuries. Kyiv, 1966, no. 1, p. 71). B. A. Rybakov dates the graffito to the end of the 11th century. and suggests that the recording may have been made in close time to the year of his death B. True, the researcher notes that “the text of the graffito in itself does not give us the right to identify Boyan the songwriter with Boyan the landowner” ( Rybakov. Russian chroniclers, p. 417). About B. as a poet who lived during the time of Prince Vseslav (d. 1101), N. Grammatik wrote in 1809 in his Discourse on Ancient Russian Literature. B. Evgeny (Bolkhovitinov) considered him an Old Russian singer, including him in his Dictionary of Russian Secular Writers (1845). "Famous Russian poet" XI - early. 12th century named B. F. I. Buslaev. He dates the time of B.'s work based on the list of the names of those princes to whom B. sang his glory songs. In addition, this list leads Buslaev to the idea that "Boyan's connection with the princes of Tmutorokan and Chernigov probably deserves some attention" ( Buslaev. Russian poetry, p. 382). Buslaev believes that the text of "The Lay of Igor's Campaign" brought to us several passages from the works of B., quoted by the author of the "Lay". These are two choruses of B., which have the character of a parable, - “Not cunning, not much ...” and “It’s hard for your head ...”, and five excerpts from B.’s songs: “TyiboOlegmech seditious kovash ...”, “Then under Olz "Gorislavlichi ...", "Already, brethren, the gloomy time has risen ...", "Sheaves lay their heads on Nemiz ...", "It is not a storm that falcons have carried wide fields ...". E.V. Barsov, who emphasized the close connection between the author of The Tale of Igor's Campaign and the work of B., at the same time believed that the author of the Lay "contributed very little to Boyanov's words in his work" ( Barsov. A word about Igor's regiment, vol. 1, p. 308). If the above assumptions about the inserts in the "Word of Igor's Campaign" from the works of B. had in mind separate small phrases, then the writer A. L. Nikitin went much further than his predecessors. He believes that in general most of the text of the Lay is nothing more than a reworking, in relation to the events of Igor's campaign, of B.'s work, dedicated to Svyatoslav Yaroslavich and his sons and written by B. a hundred years before Igor's campaign - at the end of 1084 - early. 1085. According to Nikitin, the main reason that prompted the author of the Lay to turn to B.'s work, which, according to him, "served as a kind of matrix for the author of The Tale of Igor's Campaign" ( Nikitin A. L. Test "Word ...", No. 6, p. 226), "were solar eclipses that preceded the start of both campaigns” (ibid., No. 7, p. 183). According to Nikitin, it turns out that everything that the author of the Lay is talking about was already in B.’s work: “the image of the campaign, perhaps with ominous omens, pictures of the battle with the“ filthy steppe dwellers ”, the death of heroes or captivity, followed by grief“ land” and, possibly, an appeal to the princes with a request for help” (ibid., No. 6, p. 226). Nikitin's hypothesis thus turns The Tale of Igor's Campaign into a secondary monument of ancient Russian literature. There are many obvious exaggerations in his constructions, arbitrary interpretation of the text of the Lay, gross errors.In 1912, A. S. Arkhangelsky in encyclopedia article gave detailed overview all the hypotheses about B. that existed by that time, and summarized the results of the study this issue. The connection of B. with the Tmutarakan and Chernigov princes was emphasized by A. S. Orlov ( Orlov A. WITH. A word about Igor's regiment. M., 1923), which the life of B. attributed to XI - early. 12th century and believed that B. was the same princely singer as the author of "The Tale of Igor's Campaign". As an indisputable fact, N. M. Shlyakov wrote about the Tmutarakan origin of B. and his close connection with the Chernigov princes, who, to a certain extent, tried to recreate the biography of B. According to his hypothesis, B. was born no later than 1006 and died shortly after his death Vseslav (1101). The first work of B. was a song about the combat between Mstislav and Rededey. According to Shlyakov, "in the annals we have traces of the Boyanov songs, and the chronicler used them as a source for his information" ( Shlyakov. Boyan, p. 495). Having started his songwriting activity in Tmutarakan, B. then moved to Chernigov. Shlyakov suggests that at one time B. was at the court of Rostislav Vladimirovich (d. 1066), then he moved to the service of Svyatoslav Yaroslavich (d. 1076), singing the deeds of him and his family, “especially closely linking his fate with the fate of his eldest son, the energetic Oleg” (ibid., p. 498). The fact that B. was a songwriter or court poet of Svyatoslav Yaroslavich and his son Oleg, wrote M. N. Tikhomirov. He notes that all borrowings from B.'s “commendatory words” in the Tale of Igor's Campaign “refer to a specific and relatively narrow period of time. They talk about the stay of the Polotsk prince Vseslav on the Kiev table (1068), about Svyatoslav Yaroslavich, who succeeded Vseslav on the Kiev throne (died in 1076), about the death of the "red" Roman Svyatoslavich (1079), about the death of Boris Vyacheslavich (1078). Oleg Svyatoslavich himself is spoken of as a young and brave prince, whose grandson was Igor Svyatoslavich, the hero of the poem. Consequently, Boyan wrote about young Oleg when he was still “Gorislavich”, that is, until 1094. From that year, Oleg was already firmly seated on his father’s table and the fight for Chernigov was over ( Tikhomirov. Boyan and Troyan land, p. 175-176). M. N. Tikhomirov believes that the author of the "Lay" of B.'s works, from which he drew information about the events of the 11th century, could be known both in oral transmission and in writing. The “undoubted” connection of B. with the “house of the Chernigov-Tmutarakan princes” is emphasized by B. A. Rybakov, who devotes a lot of space to B. in his study “The Tale of Igor's Campaign”. Early period B. Rybakov relates songwriting to the reign of Mstislav the Brave (died in 1036), feats of arms whom B. sang. After the death of Mstislav B., according to Rybakov, he passed to the court of the Kyiv Grand Duke Yaroslav, to whom the Chernigov and Tmutorokan possessions of Mstislav, who died childless, passed. Then B. returned to Tmutorokan again. Most researchers, relying on B.'s chorus about Vseslav of Polotsk - "Neither cunning, nor much, nor a bird, do God's judgment", believe that B. died after the death of Vseslav (1101). B. A. Rybakov believes that this “refrain” does not have a dating meaning: “From these words, firstly, it is not clear that God’s judgment has already overtaken Vseslav, and secondly, it should be taken into account that “predicting” the death of Vseslav it was possible without waiting for the fact of his death "( Rybakov. Russian chroniclers, p. 414, note. 14). In his opinion, B.’s last “refrain” in the “Word” “It’s hard for your head except for your shoulder, anger for your body except for your head” “was probably taken from some solemn ode on the occasion of the return of Oleg with his young wife and his approval in his father's and fraternal possessions in Tmutarakan" (p. 414), which took place in 1083 B., writes Rybakov, "was associated with Mstislav, then with Yaroslav the old, then with his son Svyatoslav and the sons of Svyatoslav - Roman and Oleg, the ancestor of the Olgovichi. Boyana's harp sounded even before 1036 and continued to rumble glory to the princes until 1083, that is, for about half a century ”(p. 415). Rybakov associates with the name of B. the creation of an epic about Nightingale Budimirovich, which, according to A. I. Lyashchenko, tells about the courtship of Harald of Norway to Yaroslav's daughter Elizabeth in the 1040s. ( Rybakov B. A. Ancient Rus': Legends, epics, chronicles. M., 1963, p. 78-85). Unlike most researchers, V.F. Rzhiga objects to the confinement of B.’s work to the Chernigov branch of the princely family: “In fact, it was a songwriter of a wider scope and deeper historical continuity” ( Riha. A few thoughts, p. 430). By his definition, B. is a singer-poet with a broad political outlook, "not limited by the chanting of any one princely branch" (ibid., p. 431). No less than the personality of B., researchers were interested in the question of the nature of his poetic creativity. According to Buslaev, B.'s poetry met the requirements folk epic that time. “Boyan,” he wrote, “sang his songs himself, like other folk singers, and accompanied his songs string instrument» ( Buslaev. Russian poetry, p. 394). folk singer, similar to "later bandura players, kobzars and guslars, who walked around the villages and in the markets and holiday games sang folk thoughts to the sounds of a musical instrument, ”said B. A. N. Afanasyev ( Afanasiev A. N. Poetic views of the Slavs on nature. M., 1865, v. 1, p. 408). E. V. Barsov also believed that the “live and fast” creativity of B. “had the character of not book works, but alive folk song: it was string creativity" ( Barsov. "The Tale of Igor's Campaign", vol. 1, p. 303). At the same time, however, Barsov writes: “The basis, plan and stylistic devices of Boyanov’s creations indicate that his songs, like The Word, for all their inner and deepest connection with living folk songwriting, differed significantly from this latter ... This there was poetry that towered over the folk, suggesting artistic development retinue historical epic on a heroic basis” (ibid., p. 307). An article by G. N. Pospelov is devoted to the poetics of B.'s work. Linking B.'s work with epic traditions, Pospelov emphasizes that “the songs of Boyan and epics are two different stages in the development of Russian heroic epic» ( Pospelov. On the issue of style, p. 43). He characterizes the style and genre of this ancient Russian poet-singer in this way: “Boyan was, apparently, the most talented in Kievan Rus the creator of lyric-epic cantilenas as the second stage in the development of the heroic song epic, which had already stood out once from the ritual choir, but had not yet mastered that “epic schematism” that is characteristic of its next, “epic” stage” (p. 43). The connection between B.'s creativity and techniques folk art noted V. F. Rzhiga, who especially emphasized that B. was “not only a famous Kyiv songwriter of the 11th century, but also an outstanding musician of his time” ( Riha. A few thoughts, p. 431). D. S. Likhachev, agreeing with the point of view of I. U. Budovnitsa that B. was a court poet, speaks of the “bravura” nature of his songwriting and notes: “Obviously, Boyan was not a truly folk poet” ( Likhachev. Historical and political outlook, p. thirty). At the end of the last century, M. G. Khalansky suggested the skaldic nature of B.'s work. He noted that B.'s definition of "Veles's grandson", given by the author of "The Tale of Igor's Campaign", "finds the closest parallels in the images of Scandinavian skald poetry" ( HalanskyM. South Slavic legends about kralevich Mark. Warsaw, 1894, p. 214). This point of view was developed by D. M. Sharypkin. B. songwriting in terms of stages and typology is in affinity with the poetry of skalds. Laudatory songs to the rulers-princes "both skalds and Boyan represent a stage intermediate between folklore and literature" ( IIIarypkin. Rivers Boyan and Khodyna, p. 196). B. was either directly “familiar with the Scandinavian skaldic tradition, or, perhaps, he studied with the Varangian skalds” (ibid.). Of considerable interest, in connection with the skaldic traditions of B.'s work, is the interpretation of one of the "dark" places of the "Word", which in the first edition is conveyed as follows: "Rek Boyan and passages to the Svyatoslav the pest-creator of the old time of Yaroslavl ...". Now most of the researchers of the "Tale of Igor's Campaign" accept the conjecture proposed in 1894 by I. Zabelin, according to which this place should be read like this: "Rivers Boyan and Khodyna, Svyatslava the songwriter of the old days of Yaroslavl ...". "Boyan and Khodyna" are the names of two singers Svyatoslav Yaroslavich, Namely, in the traditions of skaldic poetry, "the singers exchanged proverbs in amoeba alternation, improvising in the formulas given by tradition" ( Sharypkin. Rivers Boyan and Khodyna, p. 199). This fully confirms the correctness of the reading of this place in the “Word” by I. Zabelin and it becomes clear why two people own an aphorism consisting of only two phrases: the second singer, in this kind of poetic improvisation-competition, told what was left unsaid by the first performer.
Lit.: VeltmanA. Mentioned "bo Yang" in "The Tale of Igor's Campaign" is the old man Yang, mentioned by Nestor. - Moskvityanin, 1842, No. 1, p. 213-215; Buslaev F.I. Russian poetry XI and early XII V. - In the book: Buslaev F. Historical essays Russian folk literature and art. SPb., 1861, v. 1. Russian folk poetry, With. 377-400; Miller Sun. A look at The Tale of Igor's Campaign. M., 1877; Barsov E.V. A word about Igor's regiment artistic monument Kyiv squad Rus'. M., 1887, v. 1, p. 299-390; Zabelin I. A note about one dark place in the Tale of Igor's Campaign. - Archeol. Izv. and notes, 1894, no. 10, p. 297-301; Arkhangelsky A. Boyan. - New. enc. dictionary. SPb., (1912), vol. 7, stb. 754-759; PeretzVol. The word about the regiment Igorevim memorial of feudal Ukraine - Rus XII V. U Kivi, 1926 p. 135-136; Shlyakov N. M. Boyan. - IpoRYAS, L., 1928, v. 1, book. 2, p. 483-498; Ainalov D. IN. Notes to the text "Words about Igor's Campaign". III. What instrument did Boyan play? - TODRL, 1940, v. 4, p. 157-158; Pospelov G. N. To the question of the style and genre of the work of Boyan the prophetic. - Moscow State University. Report and message philol. f-ta. M., 1947, no. 2, p. 42-45; BudovnitzI. W. Idea content"Words about Igor's Campaign". - In the book: Izv. AN SSSR, 1950, vol. 7. Ser. ist. and philosophy. No. 2, p. 154-156; Likhachev D.S. 1) The historical and political outlook of the author of "The Tale of Igor's Campaign". - In the book: "The Tale of Igor's Campaign": Sat. research and articles ed. V. P. Adrianov-Peretz. M.; L., 1950, p. 5-52; 2) In defense of the Tale of Igor's Campaign. - Q. lit., 1984, No. 12, p. 80-99; Tikhomirov M. N. Boyan and Troyan land. - In the book: A Word about Igor's Campaign: Collection of Studies and Articles, ed. V. P. Adrianov-Peretz. M.; L., 1950, p. 175-187; Riha V.F. A few thoughts on the question of the author of The Tale of Igor's Campaign. - IOLYA, 1952, v. 11, no. 5, p. 428-438; Adrianov-PeretzV.P."The Tale of Igor's Campaign" and monuments of the Russian Literature XI-XIII centuries L., 1968, p. 13-21, 51-52; BorovskyI WOULD. 1) The person of the great Boyan in the memos of ancient writing. - Radyansk literary studies, 1970, No. 6, p. 49-53; 2) The Great Boyaniz from "The Tale of Igor's Campaign". - Ukr. mova and lit. at school. Kiev, 1981, No. 10, p. 26-31; Rybakov B. A. Russian chroniclers and author of The Tale of Igor's Campaign. M., 1972, p. 410-417; SharypkinD. M. 1) "Rivers Boyan and Khodyna ...": (On the question of the poetry of skalds and "The Tale of Igor's Campaign") - In the book: Scandinavian collection. Tallinn, 1973, v. 18, p. 195-202; 2) Boyan in "The Tale of Igor's Campaign" and the poetry of skalds. - TODRL, 1976, v. 31, p. 14-22; Sokol M. T. Biographical remark about Bojan. - In the book: Some problems of domestic historiography and source studies. Dnepropetrovsk. 1976, p. 23-34; Nikitin A. L. 1) Boyan's legacy in The Tale of Igor's Campaign: Svyatoslav's Dream. - In the book: Research and materials on ancient Russian literature: "The Tale of Igor's Campaign". Monuments of literature and art of the XI-XVII centuries. M., 1978, p. 112-133; 2) Test by the "Word". - New world, 1984, No. 5, p. 182-206; No. 6, p. 211-226; No. 7, p. 176-208; Robinson M. A., Sazonova L. I. Failed opening: (“Poems” by Boyan and “The Tale of Igor's Campaign”). - RL, 1985, No. 2, p. 100-112; Dmitriev L. A. The Test of the Word. - Owls. culture, 1985, 17 IX, p. 6.
Boyan or Bayan is an old Russian character mentioned in. Boyan is ancient Russian singer and storyteller. Boyan is considered the patron of music, poetry and creativity, as well as the grandson of pagan god.
The name Boyan is translated by linguists in different ways. Boyan is a common Old Slavic name that has a double designation: 1. fearsome and 2., spells, sorcerer; Puyan - of Bulgarian-Turkic origin, means - Rich; Bayan - Kazakh origin, meaning - to narrate, tell; Baalnik, baanie - to tell fortunes, to speak; Bayan is a sorcerer, wizard, sorcerer. The image of the poet is associated with both meanings of his name and is understood as a magician storyteller. After the name of the narrator Boyan became mythological, it began to mean a legend, conversations and songs - accordion, bayan, fable, bayat, lull, etc. In the literature of the 20th century, Boyan became a household name for indicating a Russian singer and gusliar. Karamzin introduced Boyan to the Pantheon of Russian Authors as "the most glorious Russian poet in antiquity."
The most common point of view of researchers of Russian history is that the ancient Russian Boyan the Prophet was the court singer of the Russian princes of the 11th century (presumably the Chernigov-Tmutorokan princes). The Word about Igor's Campaign says that Boyan sang of three princes: Mstislav Vladimirovich the Brave, Yaroslav the Wise and Roman Svyatoslavich (Yaroslav's grandson). Vseslav of Polotsk is also mentioned, whom Boyan blamed for capturing Kyiv. Here we see a manner typical for court singers of composing songs of praise and songs of blasphemy. He was the author and performer of his songs, he sang and played a musical instrument himself. Here is one of the refrains of his song about Vseslav Polotsky: “ Neither cunning, nor much, nor a bird is much judgment of God". Other words quoted by the author of the story: Start your song according to the epic of this time, and not according to Boyan’s plan, “It’s hard for your head except for your shoulder, anger for your body except for your head". However, all the information on this subject is taken from one source, to trust which or not - scientists are still arguing.
The author of the Word about the regiment says that Boyan is not only a singer, but also a prophet who is capable of shapeshifting - “ Boyan is prophetic, if anyone wants to create a song, then he will spread his thoughts along the tree, like a gray wolf on the ground, a shiz eagle under the clouds". The author calls him the grandson of Veles, from whom he was endowed with special poetic abilities.
It is worth saying that a very old Boyana street has been preserved, probably on behalf of the Novgorodian who lived here. On this occasion, there are a lot of assumptions, one of which is that Boyan was the same Novgorodian. B.A. Rybakov offers us a very interesting study. This story refers to the baptism of Novgorod in 988. The high priest of the Slavs Bogomil, who lived in Novgorod, actively resisted new faith Prince Vladimir and raised a real rebellion. Dobrynya and Putyata defeated the resistance of Novgorod, crushed idols and temples. So, that same priest of Bogomil was called the Nightingale, nicknamed so from his eloquence. Bojan was also called a nightingale. Later, in the Novgorod Land, in a layer dating back to 1070-1080, a harp was found with the inscription "Slovisha" i.e. Nightingale, which supposedly belonged to the same priest and sorcerer Bogomil-Nightingale. All this, and even the almost identical time of existence of both of them, gives the right to make the assumption that Bogomil and Boyan could be one and the same person.
Two centuries ago, The Tale of Igor's Campaign was found and published in Russia - a unique ancient Russian poem that turned our understanding of the level and depth of the culture of our ancestors. At the very beginning of her text unknown author mentioned the old singer Boyan, and soon the previously unseen name became known throughout the country. As a result, Boyan turned into a brand and almost trademark, giving his name to the musical instrument button accordion.
Who is Boyan
In the text of The Tale of Igor's Campaign, Boyan is mentioned only a few times, and information about him is rather scarce. Here, for example, is a small fragment from the poem translated by Nikolai Zabolotsky:That Boyan, full of marvelous powers,
Getting to the prophetic tune,
He circled the field like a gray wolf,
Like an eagle, soared under the cloud,
Spreading thought along the tree.
The image of the famous poet and singer in Ancient Rus' interested historians, because earlier they did not find any information about him in chronicles or other sources. Is it another literary monument, "Zadonshchina", again casually spoke about Boyan, but this was explained by the fact that the author of "Zadonshchina" borrowed a lot of turns and techniques from "The Tale of Igor's Campaign".
If we assume that Boyan is a contemporary of the author of The Tale of Igor's Campaign, then it turns out that he lived in the second half of the 11th century and sang songs own composition at court and squad Kyiv prince. He did this to the accompaniment of a stringed plucked instrument such as a harp.
The image of Boyan appealed to the readers of the Lay. Pushkin made him one of the characters in his poem "Ruslan and Lyudmila", and thanks to her, the spelling through "a" - "Bayan" was fixed behind the name "Boyan":
The speeches merged into an indistinct noise:
A cheerful circle buzzes the guests;
But suddenly there was a pleasant voice
And the sonorous harp is a fluent sound;
Everyone was silent, listening to Bayan:
And praise the sweet singer
Lyudmila-charm and Ruslana
And Lelem crowned them.
Controversy and discussion
Skeptics pondered whether there really could be a person about whom only one ancient Russian author spoke. Some scholars have suggested that it was invented for The Tale of Igor's Campaign to decorate the work. Boyan was thought to be a name Bulgarian origin, which means that it could be borrowed from some story or legend of a kindred Slavic people.
Other critics thought that "bojan" was a kind of synonym for bard and troubadour. They tried to translate the name, for example, as “bashchik”, “krasnobay”, that is, “knowing stories”, “knowing fables”. Accordingly, Boyan is just a generalized name for a fictional character, like the Master in Bulgakov's The Master and Margarita.
Later finds disproved doubts: Boyans lived in Rus', and there were many of them. On the wall Sophia Cathedral an inscription was found about the purchase of "Boyan's land" (land holdings of some Boyan) by the widow of Prince Vsevolod Olgovich. Several people named Boyan were mentioned in the birch-bark letters of Novgorod and Staraya Russa. And in Novgorod itself in the Middle Ages there was "Boyana Ulka" - Boyana Street. A fragment of this street in 1991 even returned the historical name.
So, most likely, the court singer under the name Boyan really could exist. Unfortunately, the facts about his namesake did not add information about him. But who knows what discoveries historical science will make in the future...
From singer to musical instrument
The popularity of "The Tale of Igor's Campaign" and Pushkin's poem "Ruslan and Lyudmila", as well as opera of the same name Mikhail Glinka made Boyan's name famous throughout Russia. If the conditional ancient Russian chronicler was inevitably associated with the name of Nestor, then the ancient Russian musician and singer was associated with Boyan. Antique fashion has turned the name into a brand. For example, several Russian ships were named after Boyan - first a small corvette, and then a couple of cruisers.
IN late XIX century, the word "Bayan" was added as the brand name of a manual clarinet harmonica. The name was added to different types harmonics.
And here is a full-fledged button accordion musical instrument appeared thanks to the St. Petersburg master Peter Sterligov. In 1907, for the talented harmonist Yakov Orlansky-Titarenko, he made a special design of the harmonica, and it was with this instrument, which they began to call simply the "button accordion", that Orlansky-Titarenko began touring the country.
Today, few accordionists think that they owe the name of the profession to the hero of The Tale of Igor's Campaign. However, according to the legends, the talented Boyan would have easily relearned and could perform his songs to the accompaniment of the Russian harmonica.
