Make a fairy tale dust. YU

ALL ABOVE
(Aviamarch)

Music by Yuli Hayt
Words by Pavel German

We were born to make a fairy tale come true
Overcome space and space.
The mind gave us steel arms-wings,
And instead of a heart - a fiery engine.

Higher, higher, and higher
We strive for the flight of our birds;
And breathes in every propeller
The tranquility of our borders.

Throwing up your obedient apparatus
Or creating an unprecedented flight,
We are aware of how the air fleet is growing stronger,
Our first proletarian fleet in the world.

Our sharp gaze pierces every atom,
Our every nerve is dressed with determination.
And believe us - for every ultimatum
The Air Force will be able to answer.

Dawn towards. Songbook for youth. Comp. Yu. K. Komalkov. M., Soviet composer, 1982. - no date, under the title. "All above."

Controversy boiled over the time of the creation of this song, the dates were from the autumn of 1920 to the 1930s, until in October 2009 Valentin Antonov finally established that the song was written and first published in Kiev between March 8 and May 15, 1923 of the year. Most likely - between May 8 and 15. She came out in the Herman and Hite series "Songs of the Revolution".

Title page of the first edition:

German Pavel Davidovich (1894-1952)
Khait Julius Abramovich (1897-1966)

MAI emblem:

Another article, the song in it dates back to no earlier than June 1923:

ALL HIGHER, HIGHER and HIGHER

Konstantin Dushenko

(Magazine "Reading Together", 2007, January. The text is provided on the personal website of Konstantin Dushenko)

This was in 1920. The Red Army entered Kyiv, and the army's political department instructed two activists from the evacuation center to compose an air march. They were taken to the airfield, where there were two strange structures made of wood, linen and metal. It was this military aviation that the 25-year-old musician Yuli Khait and the 26-year-old songwriter Pavel German were instructed to sing. So, according to Hite, the song “Higher, Higher and Higher” appeared.

Haight's story appeared in print after the composer's death, in Yevgeny Dolmatovsky's book 50 of Your Songs (1967). Dolmatovsky took him on faith, but in vain. Let's take a closer look at the text of "Aviamarch".

"THE REASON GAVE US STEEL HANDS-WINGS."

But in the Civil War, as in the First World War, all aviation was wooden; "steel wings" seemed something unthinkable. Only in 1922 did a special alloy based on aluminum appear, and with it metal wings.

“AND IN EVERY PROPELLER BREATHE
PEACE OF OUR BORDERS”.

In the summer of 1920 in the West Soviet Russia there was not only "calm", but also the borders themselves, and the Bolsheviks lived in the expectation of a revolution in Europe, which would put an end to borders forever. This alone is enough to reject the veracity of Hite's story.

"AND INSTEAD OF THE HEART IS A FLAME MOTOR".

This, in essence, is taken from Mayakovsky, from the poem "The Worker Poet" (1919): "Hearts are the same motors, the soul is the same cunning engine."

"OUR SHARP LOOK PIERCES EVERY ATOM."

"... The atom was, as it were, predicted by Herman," remarks Dolmatovsky. This, of course, is not true: already in 1914 Wells wrote not just about the "atom", but about " atomic bombs(in the novel The World Set Free).

“AND BELIEVE US: FOR EVERY ULTIMATUM
THE AIR FLEET CAN ANSWER."

This is where the key to unraveling the mystery of the origin of the "Aviamarch" is hidden. In all probability, we are talking about the answer to "Lord Curzon's ultimatum", i.e. to British notes to the Soviet government on May 8 and 29, 1923. It was then that the slogan "Our answer to Curzon" appeared. On June 16 of the pre-revolutionary military council, Trotsky declared: "If we respond to all the offensives of the bourgeoisie by building airplanes, then maybe we will someday put an end to all these offensives." And the country took up the creation of a large air fleet.

It turns out that the song was by no means written in 1920, but after the "military alarm" of 1923, quite possibly - by order of the Main Political Directorate of the Army, i.e., in essence, Trotsky. Very soon, everything related to Trotsky was banned, and Hite wisely attributed the creation of the "Aviamarch" to an earlier time. The earliest edition was issued by the USSR Muzfond in a glass-printing method with the indication: “Signed for printing on May 13”, - alas, without indicating the year. The song was dedicated to "USSR Air Force". The USSR, let me remind you, was formed on December 30. 1922, and the edition with the date "May 13" appeared no earlier than 1924 - otherwise the quote from Trotsky's speech delivered in June 1923 would not have got there.

Pavel German, who died in 1952, is known as the author of the words to many other popular songs - “Bricks”, “Sasha, do you remember our meetings?”, “There are meetings only once in a life”, etc. Julius Khait, who died in 1966, never created anything remotely comparable to Aviamarch. The version that the music of "Aviamarch" was borrowed has been expressed more than once. She did not receive reliable confirmation. However, in 1930, the Leningrad magazine Rabochy i Theater wrote with disapproval about “all sorts of Hayts, reworking the old tunes of chansonettes into “revolutionary” songs and romances” (No. 21, article “Uproot the vulgarity!”).

The remark is very curious. The conversion of pop tunes into revolutionary ones began even before 1917; So, according to the observation of the Russian stage historian E. Uvarova, the melody of the song “We are blacksmiths, and our spirit is young” (1906) goes back to the song “I am a chansonette”, fashionable in those years. Is Aviamarsh from the same place?

Size 4 / 4

TRANSPOSE TO ANOTHER KEY. ON HALF TONE

Current key: before major

Conventions

Show

I. Strings from 6th to 1st (from left to right).
II. Fret number.
III. Open string.
IV. No sound is produced on the string.
V. Fingers: index (1), middle (2), ring (3), little finger (4).
VI. Barre with index finger.

SONG "AVIAMARSH" ("ALL HIGHER"). PICK UP (BRUTTER)

To use the "Fight + Bust" guide, enable flash and javascript support in your browser.

SONG "AVIAMARSH" ("ALL HIGHER"). TEXT

We were born to make a fairy tale come true
Overcome space and space.
Reason * gave us steel arms-wings,
And instead of a heart - a fiery engine.

CHORUS:
Higher, higher, and higher
We strive for the flight of our birds;
And breathes in every propeller
The tranquility of our borders.

Throwing up your obedient apparatus
Or creating an unprecedented flight,
We are aware of how the air fleet is growing stronger,
Our first proletarian fleet in the world.

Our sharp gaze pierces every atom,
Our every nerve is dressed with determination.
And believe us - for every ultimatum
The Air Force will be able to answer.

* option: Stalin

SONG "AVIAMARSH" ("ALL HIGHER"). AUTHORS

Soviet composer Julius (Ilya) Abramovich Khait (1897-1966)

YULIY HAYT

Julius Abramovich Khait was born on November 3 (15), 1897 into a Jewish family in Kyiv. In 1921 he graduated from the law faculty of Kyiv University. He took composition lessons from M. I. Pruslin. In the same year he moved to Moscow. In 1923-1949. - an employee of organizations for the protection of copyrights of Soviet composers. In 1949 he was repressed and was imprisoned until 1953. In addition to "Aviamarch", Julius Khait wrote many other musical works: songs and romances (“Meetings will be shorter”, “We are not a couple”, “I won’t forget”, “For the guitar chime”, “No need for meetings”, “Not on the way”, etc.), as well as military -patriotic marches for brass bands ("Change", "Our Emblem", "Red Sailors", "Krasnoflotsky March", "Soviet Hero", "Hello to the Winners", "Guards Banners", "Glory to the Heroes", etc.). Died December 6, 1966. He was buried in Moscow at the Vvedensky cemetery.

Soviet poet Pavel Davidovich German (1894-1952)

PAVEL GERMAN

Pavel Davidovich German was born in Kamenetz-Podolsk in 1894. In 1914, with the outbreak of World War I, he moved to Kyiv. Here the first collection of romances on the verses of Herman saw the light of day. The poet was in Kyiv during civil war. In 1920 he worked together with the composer Yu. Hayt in an evacuation center, and also performed together with Hayt in the cafe "KHLAM" (Artists-Writers-Artists-Musicians). In 1921 he moved to Moscow, becoming the head of the literary part of the Moscow Circus. From 1924 to 1928 he lived for some time in Riga, and then in Paris. In 1928, he began to engage in journalism, preparing for publication, together with N. Agnivtsev, several pop collections at the Teakinopechat publishing house. In addition to "Aviamarch", Herman also wrote the famous "Song of a Brick Factory" (music by V. Kruchinin, 1923), which quickly went to the people under the name "Bricks". This was greatly facilitated by the fact that the song began to be performed by K. Shulzhenko, whom Herman met in 1924 in Kharkov. Among the others popular songs We will mention Herman “Only once in a life there are meetings”, “I do not regret” (music by B. Fomin); “Days after days are rolling”, “A song remains a song” (music by S. Pokrass, 1923); "Colombo" (music by Y. Khait); "Never" (music by D. Bitsko); "Note" (music by N. Brodsky). Pavel Davidovich German died in 1952 in Moscow.

SONG "AVIAMARSH" ("ALL HIGHER"). HISTORY OF CREATION

Soviet poster with text and notes "Aviamarch"

This march is full of joy, cheerfulness, life-affirmation. It sounded especially sunny, with some new jubilant force, when Moscow met Yuri Gagarin and his other cosmonaut friends. "Higher!" - the lines from the song themselves became, as it were, their motto. And the march was created in that distant time, when our aviation was just in its infancy - in the fall of 1920. And it happened in Kyiv, quite recently liberated from foreign invaders, where everyone, for whom Soviet authority became native, sought to help her in any way he could. Artists also found their place in this patriotic movement.

IN Soviet country there were no aircraft of their own yet, but the young poet, young dreamer Pavel German composed poems in which he confidently saw the future of our aviation, designed to "overcome space and space", capable of giving a proper response "to every ultimatum" of enemies. The poet introduced his friend, the young composer Yuli Khait, to poetry (both actively participated in cultural and educational work among the fighters, wrote several songs for them). Hite was carried away by the verses, and the melody was born quickly. Already in a day new song sounded at the propaganda center in front of the Red Army men going to the front.

"Aviamarsh" was enthusiastically received: still - there was its own, soviet song, at that time one of the very few!

And the song took off. According to newspapers, in 1925 it was sung by participants in the first long-distance flight of Soviet aviators from Moscow to Beijing. Five years later, orchestras carried the sounds of this melody at a May Day demonstration in Berlin, when a delegation of Moscow workers greeted Ernst Thalmann. The words taken from Aviamarch were placed in the headlines of numerous newspaper articles devoted to our aviation, and were cited in the appeal of the IX Congress of the Komsomol in 1931. In greeting the 7th Congress of the Comintern, they were delivered by the famous athlete Nina Kamneva, who spoke on behalf of the delegation of Soviet paratroopers. “Native sky,” she said, “is the air fortress of the beloved Fatherland. We confidently sing: "And in every propeller the calmness of our borders breathes."

And in Republican Spain this song sounded, and across the ocean, when in the USA the Chkalovsky crew was enthusiastically greeted, which very clearly brought to life the lines from "Aviamarch".

A significant fact: on August 7, 1933, the People's Commissar for Military and Naval Affairs signed the order: "Install the air march of the Air Force" Everything is higher! ", Music by Yuli Hait, words by Pavel German."

In the same year, Konstantin Eduardovich Tsiolkovsky, speaking on the radio from Kaluga to the May Day columns passing through Red Square, in particular, said:

Probably, the orchestra in the square is now playing the march “Higher and Higher!” Wonderful music! Good and remarkably correct words!

Konstantin Eduardovich then expressed confidence that "heroes and daredevils will lay the first take-off routes Earth - the orbit of the Moon, Earth - the orbit of Mars, Moscow - the Moon, Kaluga - Mars ..." A quarter of a century passed - and the Soviet heroes really escaped into space, and then The Earth met them with this "Aviamarch".

An enviable song destiny!

We were born to make a fairy tale come true
From "Aviamarch", written (first edition with notes: 1922) by composer Yuri Khait to the poem "All the Higher" by the poet Pavel Davidovich German (1894-1952). In the USSR in the 1930s this march song glorifying Soviet pilots was extremely popular:
We were born to make a fairy tale come true
Overcome space and space.
The mind gave us steel arms-wings,
And instead of a heart - a fiery engine ...
Used: ironically in relation to discredited socialist doctrines and political slogans. It is also used as a playful compliment to oneself.

Encyclopedic Dictionary of winged words and expressions. - M.: "Lokid-Press". Vadim Serov. 2003 .

See what "We were born to make a fairy tale come true" in other dictionaries:

fairy tale- , and, well. ** We were born to make a fairy tale come true. // The opening line of the “Aviamarch” by Y. Hayt to the verses of P. German, 1920/. poet. pathet. A popular slogan of enthusiasts of socialist construction. ◘ We were born to make a fairy tale come true ... ... Explanatory Dictionary of the Language of Soviet Deputies

Air March ... Wikipedia

liquor- a, m. LIQUOR s, f. liquor f. , German Likor, lat. liquor. 1. Strong, sweet, aromatic alcoholic drink. Ush. 1938 Very sweet vodka, with an admixture of spices, fruit juices, etc. Dal. From making liquor and duty free from them… …

liquor- LIQUOR a, m. LIQUOR s, f. liquor f. , German Likor, lat. liquor. 1. Strong, sweet, aromatic liquor. Ush. 1938 Very sweet vodka, with an admixture of spices, fruit juices, etc. Dal. From making liquor and duty free from them… Historical dictionary gallicisms of the Russian language

tomato- a, m. pomme d amour, it. pomodoro pl. pomidori. Tomato or amorous apple, gardeners have a tomato, pomme d amour. Schroeder 552. We were born to drink everything that is liquid, To overcome the fuselage and the leker, Mosgortrest gave us various drinks, And for a snack ... ... Historical Dictionary of Gallicisms of the Russian Language

Yuri Alekseevich Gagarin ... Wikipedia

Gagarin, Yuri Alekseevich "Gagarin" redirects here; see also other meanings. Yuri Alekseevich Gagarin Country ... Wikipedia

Country ... Wikipedia

Yuri Alekseevich Gagarin Country ... Wikipedia

Heavenly History ... Wikipedia

Books

• Wings of the Land of Soviets, . From the first years of the creation of the Russian air fleet at the beginning of the 20th century, aviation and aviators have gained the love of the whole people, and air holidays have forever been associated with the idea of ​​a bright ...
• Transport: Aircraft, Alexander Lukin. Two heroes - Masha and Petya, accompanied by a good friend - Professor Vladimir Sergeevich, time after time set off on exciting journeys through space and time. But wherever...

One day, in the vast expanses of the Universe, a small Fairy Tale was born. It contained everything that the soul could wish for: miraculous healings, countless treasures and riches, a handsome prince on a white horse and a princess on a pea, travel beyond the ends of the Earth and into the space of the Cosmos, and much, much more, you can’t list everything. The fairy tale grew and was filled with flowing warmth and light of love, iridescent overflows of happiness, melodic harmonies of joy and fun. It's time for her to come true.

The fairy tale wondered, which planet should she fly to? And suddenly she heard a song coming from the Earth: “We were born to make a fairy tale come true ....” “That’s where I’ll fly,” the young sorceress decided, “People will help me become a reality!” And she went through all the boundless outer space to the blue planet, towards her life - after all, the life of a fairy tale will not begin until someone believes in it ...

Having penetrated into the earth's atmosphere, the Fairy Tale flew over fields and seas, forests and meadows to towns and cities, in search of people who would accept it, believe in it, and help it become a reality. But there was one more important condition for its implementation - it certainly had to become useful, necessary, it had to help, and not just entertain. At first, this condition seemed very simple to her, because who else needs a fairy tale, if not those who are desperate, who are tired of difficulties and hardships, who are exhausted by illness and suffering. But….

It wasn't there! However, first things first…

Flying over the hospital town, our traveler saw a sick woman. She was still young, but so exhausted by the disease, there was so much suffering and torment in her eyes that the Tale simply could not fly by. She perched on the woman’s shoulder and, warming her with her warmth and participation, whispered in her ear: “I can help you recover, you are still young, life is beautiful, and it’s all ahead.
With me you will see all the colors of the world and feel the joy and fullness of health. You just need to trust me." The woman shrugged off those words in annoyance. "What are you talking about? I've been sick for so many years! The most professional doctors, the most expensive medicines cannot help me! Do you want to convince me that just a fairy tale can help me? Fly away! Do not fool me!

Let me continue my suffering, to be pitied and loved, I don’t need anything else in life!
The Tale flew on, deciding not to despair and try again. He sees - a poor person, works like an ox from dawn to dusk, but there are still not enough funds. “Here, he will surely need my help,” thought the Tale, and, after waiting for the moment when the man sat down to rest, approached him. Having sprayed a light refreshing shower of inspiration over him, the Tale whispered: “Do you want to live in prosperity and wealth? Would you like to allow yourself more rest from your labors? Do you want your work to bring you joy? Do you want to get everything you dream of? I can help you with this…”

Her mesmerizing whisper was interrupted by a harsh shout. “What are you telling me stories about?! I have been working all my life without straightening my back, I don’t see white light! I wake up and fall asleep with thoughts of how to earn a piece of bread for my family! What wealth! What wealth! There is only poverty and poverty around - for people like me, and only a handful of thieves and scoundrels have everything!

The fairy tale tried once again to break through the wall of hostility: “All you need is to believe in me, the Fairy Tale! And I will help you see the good, bright and joyful in life! I will lead you to your dream!"

"What?!" - the worker roared furiously. "What dream are you talking about? What dreams can I have? I need to feed my family, not dream! Get out! I have no time to sharpen foxes with you!
I need to work in order to feel like the head of the family, strong and necessary, to be respected, depend on me and love me!

Having flown away to a safe distance, the frustrated Fairy Tale thought deeply: “How is it? People are ready to suffer from debilitating diseases, hard hopeless work, to dry themselves with mental pain from resentment and disappointment, in order to receive love! But they reject the same love that flows through the Fairy Tale, through a dream, through joy!

Having not found an answer to this question, but without despair, she flew on, to look for a person who would believe in her and allow all her dreams to come true, allow her life to become beautiful, magical, filled with miracles and love, a Fairy Tale.

Or maybe it will be you...?

“We were born to make a FAIRY TALE FALSE!”
EVERYONE OF US ALWAYS WISHES TO LIVE A BETTER LIFE! And it is wonderful that we are not content with what we have. And we strive for the best! And help you turn YOUR life into a FAIRY TALE,

As statistics show, the article “Two Marches” brought to your attention is of great interest to readers. I perfectly understand that the reasons for such interest are, alas, not so much the merits of the article itself, but the issues raised in it. So many readers are simply not able to read to the end, and then they write something like this on their forums:

“And the march Higher, higher and higher, Stalin’s falcons stole from the Germans. In principle, a few illustrations are enough http://www.vilavi...3.shtml”(original spelling retained).

As a matter of fact, it makes absolutely no difference to me if any citizen, who hardly reads and writes in Russian, but who knows no doubts, prefers to fool himself and others with those statements that are pleasant to him. But it is difficult for me to understand why such a citizen refers to the work, the author of which, as a result of a painstaking study of documents, came to the exact opposite conclusion..

Especially for those to whom prolonged reading causes physical pain, I will write here briefly and clearly: "Stalin's falcons" did not steal the "Higher and Higher" march from the Germans. Rather, on the contrary: it was German attack aircraft that borrowed the melody of the Soviet “Aviamarch”. This conclusion was not taken from the ceiling, and it was not made because someone wanted it this way and not otherwise. On the contrary, this conclusion follows with iron necessity from a comprehensive and impartial comparison of many surviving documents and historical facts.

In December 2006 When the first part of the article “Two Marches” was being prepared, the author had at his disposal several facts that could be interpreted in favor of the direction of borrowing from the German march to the Soviet march. All such facts were listed in the first part of the article, and at the same time questions were formulated there, which should be answered later.

In January 2008, when the second part of the article was being prepared, the author already had documents that allowed him to assert that the “Aviamarch” almost certainly appeared before the Nazi march.

By August 2008, when the third and fourth parts were being prepared, not only the priority of the Soviet march over the Nazi march became already quite obvious, but it was also possible to understand in what way the melody of "Air March" was borrowed German Nazis. The whole story turned out to be far from being so primitive - they stole or they didn't steal - and very interesting.

If someone is not fascinated by the process of research itself, but only the conclusions are of interest, then here they are. The rest will hardly regret the time spent, discovering for themselves, perhaps, previously unknown names, facts and documents, and going along with the author along the road of doubts, searches and small discoveries.

April 2009

1. “Well, I think things are going ...”

Probably, one should hardly be surprised that the famous Soviet aviators' march "We were born to make a fairy tale come true ..." and the Nazi march "Herbei zum Kampf ..." use the same melody and in places the same text. Both the Nazis and the Communists relied on practically the same social base, used practically the same phraseology and did not particularly bother themselves with moral considerations. We already know, for example, that the melody of the old song "Schwarzbraun ist die Haselnuss ..." was loved by both Wehrmacht soldiers and young pioneers of the Soviet Union. We have already seen that the German Social Democrats used the melody of the old Tyrolean song "Zu Mantua in Banden ..." in their youth march "Dem Morgenrot entgegen ..." and that in 1922 the Komsomol member A. Bezymensky shamelessly adapted the text of his German colleagues into Russian renegades, thus giving the Soviet Komsomol his anthem "Forward, towards the dawn ..." ("Young Guard"). And, say, the melody of the old German "student" march was also actively used by Russian revolutionaries (most famous variant- “Boldly, comrades, in step”), and the German communists with their transcription of the Russian text, and the Nazis (now banned in Germany, the Nazi party anthem “Brüder in Zechen und Gruben”, the words of which, by the way, are attributed to the selfless stormtrooper and successful poet Horst Wessel; for relevant references see, for example, ).

So you should not be surprised at the coincidence of melodies. Rather, one should be surprised that for a long time none of us paid any attention to it. However, it is understandable. Both of these songs are bright patterns song propaganda, but different sides barricade. Those who sang the cheerful march “We were born to make a fairy tale come true ...” hardly had the opportunity to listen to the performance of the march “Herbei zum Kampf ...”, and vice versa. And after the war, the circle of fans of "Herbei zum Kampf ..." has completely narrowed. True, the Soviet viewer could be perplexed why these Nazi thugs in documentary"Triumph of the will", snorting joyfully, pour water over their muscular bodies - to the tune of the official anthem of the Red Army Air Force:

But where could such a spectator come from? The outstanding propaganda film by Leni Riefenstahl "Triumph of the Will", dedicated to the Nazi Congress of 1934, is not very accessible now, let alone the days of the "Iron Curtain" ...

In short, as soon as it became possible to compare both songs, their similarities, to put it mildly, were instantly revealed. Such an opportunity came to Seva Novgorodtsev when, with his knowledge of the Soviet march, he accidentally showed it to those who knew the Nazi march. This is how Seva Novgorodtsev told about his accidental discovery on the air of the BBC, at the very beginning of his weekly radio program "Rock crops" (anyone can download the recording of that program - "Rock crops", August 26, 1983 -) :

Good evening friends! Today's program is dedicated to your letters and applications. But first I want to tell you a story.

One of these days, on the eve of Aviation Day, we received a call from English television for advice. “We have in the frame,” they say, “Russian planes. What kind of music would you recommend for us behind the scenes? “Best of all,” I say, “the air march “Higher and Higher” is suitable, especially since this is the official march of the USSR Air Force. They ask me on the phone: “Could you sing a few bars?” Well, I sing: “We were born to make a fairy tale come true, to overcome space and space ...”, and then the refrain: “Higher, and higher, and higher we strive for the flight of our birds ...”, and so on. There was silence at the other end of the wire, and then they say: “Excuse me, but what you sang to us is a Nazi song, a march of the Brownshirts of the Third Reich.” "Yes you! - I answer them. - This is the "Aviamarch" by the composer Julius Khait, which the newspaper "Pravda" once called in the series the best works Soviet jazz". "No no! - answer the phone. - Thanks for the advice, but we can't show Soviet planes in the frame and accompany it with Nazi music. Do you understand what can happen from this?

Well, I think things...

That's it. Let's take a look at the lyrics of both songs. All our songbooks say that the author of the text of the Soviet march is Pavel Davidovich German (quoted from the songbook “Russian Soviet Songs (1917-1977)”, compiled by N. Kryukov and Y. Shvedov, Moscow, “ Fiction", 1977, p. 80):

It would be much easier if we knew who was the author of the text of the Nazi march. But he, the author, is unknown to us:

Herbei zum Kampf, ihr Knechte der Maschinen, nun Front gemacht der Sklavenkolonie. Hört ihr denn nicht die Stimme des Gewissens, den Sturm, der euch es in die Ohren schrie? Ja, aufwärts der Sonne entgegen, mit uns zieht die neue Zeit. Wenn alle verzagen, die Fäuste geballt, wir sind ja zum Letzten bereit! Und höher und höher und höher wir steigen trotz Haß und Verbot. Und jeder S.A.-Mann ruft mutig: Heil Hitler! Wirstürzen den Judischen Thron! Bald rast der Aufruhr durch die grauen Straßen Wir sind der Freiheit letztes Aufgebot. Nicht länger sollen mehr die Bonzen praßen Prolet: kämpf mit, für Arbeit und für Brot. Nun nehmt das Schicksal fest in eure Hande, es macht mit einem harten Schlag der Fron des ganzen Judentyrannei ein Ende, das braune Heer der deutschen Revolution! Ja, aufwarts der Sonne entgegen...

Until the mid-30s, until the “night of long knives”, the march “Herbei zum Kampf ...” was performed with pleasure by SA stormtroopers and was popular among them, which, in fact, was recorded by Leni Riefenstahl in her film. As far as can be seen, no complete recording of this Nazi march has been preserved. Listen to his first verse and chorus:

... It can be assumed that everything was just the opposite: the Germans borrowed the melody from Hait for their march. I’m not saying this for sure, but the year of writing the song-march “Everything is higher ...”, indicated in the recently published “Soviet Musical Encyclopedia” in an article about Hayt, is pushing to this conclusion - 1921, that is, before Hitler came to power ... I personally am ready be satisfied if Mr. Novgorodtsev publicly, that is, in the program, announces that he did not have sufficient grounds to accuse Hite of plagiarism and therefore withdraws his accusation. If Seva keeps silent, which is most likely, then ... well! except for "scoundrel" - there will be nothing to answer to this ...

Of course, after such a letter, Seva Novgorodtsev continued the “debriefing” with pleasure. Both songs were recorded. (Incidentally, the presenter apologized for the fact that in the first broadcast he - as it was said, through the fault of the German service of the BBC - mistakenly associated "Air March" with the song "Horst Wessel", the official anthem of the Nazi Party. It must be said that "Horst Wessel" is rarely listened to, but often remembered, with or without reason. This song was also performed on the program on May 25, 1991. See, for example, our story about the history of "Horst Wessel").

Then the following curious conversation took place between Seva Novgorodtsev and Leonid Vladimirov:

Your browser cannot play this song.

Novgorodtsev: ... Well, I think that we sort of established an identity. Indeed, the melody is almost, well, 95% the same, with one exception: in the chorus they shout “Heil Hitler!” in one place, but in the Russian version the chorus goes smoothly, without any interruptions ...

Vladimirov: That is, how is it "smooth"? I, with your permission, in those years - I mean the 30s - was already a pioneer and sang this march endlessly. And we sang not even “smoothly”! Here is the version we sang:

Higher, and higher, and higher We strive for the flight of our birds, And in each propeller breathes - Protection! - Tranquility of our borders.

That's how we sang!

Novgorodtsev: You know, Leonid Vladimirovich, this is a revelation for me, because the cry “Protection!” this is absolutely not characteristic of our songwriting, in style. Such cries, aside, they are with us, in our Soviet songs do not meet. And this leads me to the idea that the borrowing took place in the direction from Germany to Russia, and not vice versa ...

But this is already serious: according to L.V. Vladimirov, in the 30s, in the penultimate line of the chorus of the Soviet march, a four-foot amphibrach was used - that feature that we saw in the text of the Nazi march and which made both texts, from the point of view of poetic size , are completely identical. We will return to this a little lower, but for now - what other arguments were put forward in that issue of Seva Turnover?

Firstly, it was emphasized that the entire terminology of the text is typical not for the early 20s, but rather for the early 30s.

Secondly, it was noted that Julius Khait, who in 1920 studied at law school Kyiv University - it was in those years more of an amateur than a professional musician.

And, finally, it was said that all the other songs of Julius Khait known to Seva Novgorodtsev are, well, of a completely different style! As an example, they listened to Hayt's song "For guitar picking" to the words of Pavel Grigoriev. True, Seva Novgorodtsev was then rather grossly mistaken when he called Yuli Khaita the author of this romance. The romance "For the guitar busting" was not written by Julius at all, but by his lesser-known brother, Mikhail Khait.

We will not repeat the mistakes of Seva Novgorodtsev and, as an example, we will simply take a look at the lyrics of the song alone, the melody of which was certainly written by Julius Khait. Why only text? Yes, because this text was not written by anyone else, but by the same Pavel Herman, the author of the imperishable march of the Red Army Air Force. The song is called "No need for meetings":

The pattern of fate draws an inaudible trace: I see your face again so close; And once again the breath of past years is blowing in front of me is a note lying: No words needed, I swear to you, no need! And if again diseased heart noet, Make him freeze and shut up! After all, I know, painfully familiar Your every gesture, complete and rude, Your soul's painful break, And a sharp look, and sensual lips ... No need for meetings... No need to continue... I don't want to defile the past With the game of feelings of a momentary return, What happened once - that will no longer be, With your hand everything is torn and crumpled. No need for meetings... No need to continue...

Haight and Herman wrote this song of theirs at about the same time with the air march “Higher and Higher”. The romance "No Meetings Needed" enjoyed enormous popularity among the public - and perhaps no more than the air march "Higher and Higher". This romance "with exceptional success" was performed by Isabella Yuryeva, it was with him that she first performed on stage. Yuri Morfessi, Sarah Gorbi and Maria Sadovskaya included him, and also "with success", in their repertoire: the chased lines of Pavel German, this "sharp look" of his, this "painful break in his soul" - found a warm response among the Russian emigration and in Belgrade, and in Paris, and in Harbin...

In short, the romance “No need for meetings” by Hite and Herman quickly became a symbol of something like this ... something in spirit completely opposite to the “Aviamarch” of the same authors ...

Your soul is a painful break, And a sharp look, and sensual lips... Our sharp look pierces every atom, Our every nerve is dressed with determination...

... In 1929, the Moscow Region record factory "In Memory of 1905" performed by Vladimir Khenkin, the future People's Artist RSFSR, released a caustic parody of the romance "No need for meetings." Let's listen to this rare recording. Music by Julius Khait, words ... words - almost like Pavel German:

Your browser cannot play this song.

“Your soul is a painful break, and a sharp look, and sensual lips ...”

“Our sharp gaze pierces every atom, our every nerve is dressed with determination ...”

This is how things turn out, gentlemen-comrades.

4. Peace of mind protection

In biology, there is such a concept - a rudimentary organ, a rudiment. This is when organs are preserved in the body that were once important, but have lost their original significance in the process of evolution. For example, the eyes of a mole. So, it does not leave the impression that the very cry “Protection!”, which, according to L.V. Vladimirov, was once in the refrain of the Soviet march, is the very rudiment, the residual organ. Shouting "Heil Hitler!" when singing the Nazi march, he literally burst out of the chest of the stormtroopers, and breaking one of the lines for the sake of the adored Fuhrer seemed to them, probably, a natural and justified matter. But here is the cry of "Protection!" instead of "Heil Hitler!" looks completely out of place in the Russian text. We have just heard, performed by L. V. Vladimirov (in the absence of another possibility), how that cry, strange for a Soviet march, sounded. I can also refer to the message of one of our readers (K. S.):

... I read it with pleasure, I have something to add. In the late 80s, on the station Chudovo (Novgorod region), I accidentally heard a version of the "Aviamarch" given by L.V. Vladimirov (performed by a tipsy old accordion player). So: not calm, but calm, that is:

And in every propeller breathes the protection of the Tranquility of our borders

The word defense was not highlighted, the transition between the third and fourth lines of the chorus was smooth. There was also a fourth verse, but I, unfortunately, did not remember it.

By the way, this example clearly demonstrates that the language struggles with alien inclusions, tries to absorb it into itself, adapt it - even at the cost of such a clumsy construction as “protection of the tranquility of borders”.

Wait a minute, but perhaps Leonid Vladimirovich's memory simply let him down? Maybe our reader has confused something? Are there any other indications that the mentioned “rudimentary organ” was once in the text of the Soviet march? Yes, there are such indications! We already know that the text of the march of the German communists under the name of the type “Lied der roten Luftflotte” (“Song of the Red Air Fleet”) chronologically follows the text of the Soviet march (and why? But because there is no “own” red air fleet, in addition to the Soviet , the German communists simply did not exist; I'm not talking about the massive borrowing of images and vocabulary of the Soviet march in the German communist text). Roughly speaking, the march of the German communists is not independent work and is a tracing paper from the march of the Red Army Air Force. So, even in the text presented by Rinat Bulgakov in the article cited above, we see the notorious rudiment:

Drum höher und höher und höher wir steigen trotz Haß und Hohn. Ein jeder Propeller singt surrend : Wir schützen die Sowjetunion!

Here, listen to an old recording of the corresponding fragment of this song and pay attention to the characteristic piano chords instead of the missing syllables:

Your browser cannot play this song.

I repeat: the modern version of the Soviet march melody breaks the penultimate line at the word "surrend" (buzzing, buzzing - about the propeller), and there is simply no place for the word "das Lied" (song). Therefore, if the German communist march is a tracing paper (and how could it be otherwise?), then it is not a tracing paper from the modern version of the Soviet march, but from such a version of it, which repeats the structure of the Nazi march one to one and which, according to L. V. Vladimirov , existed and was actively executed at one time. What do the parentheses mean in the above text? And the brackets may mean that for some time both options existed in parallel, until the cry at the end of the third line of the chorus, meaningless in essence and alien to Russian song traditions, was gradually replaced modern version performance of the Soviet march.

Want another example? Please. On one German forum, I also came across this version of the above text of the communist march “Lied der rotten Luftflotte” (only there it is called “Lied der roten Flieger” - “Song of the Red Pilots”):

Drum höher und höher und höher wir steigen trotz Haß und Hohn. Ein jeder Propeller singt surrend "Hurra!" : Wir schützen die Sowjetunion!

Here, the “residual organ” (“Hurra!” - “Hurray!”) Looks just as senseless and helpless as in the Soviet original (“Protection!”). A resident of Berlin, who posted the above text on the forum, refers to the fact that he was known among the German communists from the Telman International Brigade.

What does all this mean? This means that the Soviet "Aviamarch" and the German communist march derived from it had such early versions of the performance that were identical to the execution of the Nazi march. However, the additional syllables of the text, the only and so natural among the Nazis, were chaotically replaced every time by random, meaningless and unnatural cries in the penultimate line of the refrain. In other words, all this points to the fact that the borrowing, apparently, did come from the Nazi march to the Soviet one. Of course, all this is only circumstantial evidence, although quite serious.

5. About shellac and stale bread

Surprisingly, there are people who, like a longtime BBC listener from Ivanovo region, no doubt about anything. On the Russian-language Internet, the notion that the priority of the Soviet march has been fully and unconditionally proven is taking root. At the same time, everyone refers to the one and only Rinat Bulgakov, who has already been mentioned by us more than once. Rinat Bulgakov writes in his article:

So, everything that could be done has been done. The truth seems to be established. To the delight of those who have always believed that “Aviamarch” is our song, and to the deep disappointment of those who hoped that the priority was for the Germans.

It's even interesting... Strange emotionality for a researcher. Let us see, on the basis of which such a joyful conclusion is drawn. Leaving aside minor details (what is shellac, from which old gramophone records were made, what and in what form the recordings of the Nazi song were preserved, when and to whom Bulgakov addressed, each time receiving negative answers, and so on), we will be surprised to find that the only thing that Rinat Bulgakov considered "iron" proof of the priority of the Soviet march. What is it? And here's what.

In response to Bulgakov's next request, he was pointed to a contemporary article on SA combat songs. The authors of this article, Bruderick and Klein, had in their possession an article by one Hans Bayer that appeared in the issue of Die Musik (June 1939) and recounted the opinion expressed in it. So, the irrefutable proof of Rinat Bulgakov is contained in the following phrase by Bruderick and Klein (we are talking about the origin of the Nazi song; I quote as it is written in Bulgakov's article):

… Nach Bajer hat sichdieses Liedaus dem Lied der rotten Luftflotte entwickelt, dessen Kehrrein mit den Worten endet “Drum hoher und hoher und hoher, wie steigen trotz Hass und Holm. Ein jeder Propeller singt surrend: Wir sclutzen die Sowjetunion"

And then Bulgakov gives a translation and draws his conclusion (I quote as it is written in Bulgakov's article):

... Bayer writes (here is a link to the article by Hans Bayer "Lieder unschen Geschichte" in the magazine "Die Musik", number XXXV / 9, June 1939) that there is no doubt that the march of the Red Army Air Force was taken as its basis, with a refrain that ends with the following words: "Higher, and higher, and higher // We strive for the flight of our birds, // And in each propeller breathes // The tranquility of our borders"

So, Hans Bayer, a musicologist, researcher and contemporary of this march, in his article in the journal Die Musik in June 1939, reported that he could not find German authors, and came to the conclusion that the Germans really borrowed the melody of the Soviet "Air March ”, and even quoted (in translation) four lines of the chorus.

Gentlemen, this is not even funny. There is nothing of the kind in the above quotation from the article by Bruderick and Klein. To begin with, this quote from Bulgakov is replete with typos that deprive it of any meaning (“rotten” instead of the correct “roten”, “Kehrrein” instead of “Kehrreim”, “Holm” instead of “Hohn”, and so on). After fixing them, it looks like this:

Nach Bajer hat sich dieses Lied aus dem Lied der roten Luftflotte entwickelt, dessen Kehrreim mit den Worten endet "Drum höher und höher und höher wir steigen trotz Haß und Hohn. Ein jeder Propeller singt surrend: Wir schützen die Sowjetunion"

But what is written here? Here is the exact translation:

According to Bayer, this song is derived from the song "Lied der roten Luftflotte" whose chorus ends with "Drum höher und höher und höher wir steigen trotz Haß und Hohn. Ein jeder Propeller singt surrend: Wir schützen die Sowjetunion"

So what? First: there is no question of any march of any Red Army Air Force in the quote from the German article. Secondly, the song mentioned in the quote as a source is not the Soviet "Aviamarsh", but the same "communist" version that we spoke about above, but without any "rudimentary" additive. Third: in 1939, a certain Hans Bayer, not having any information about the authors of the Nazi march, expressed his personal opinion that he came from the march of the German communists known to him at that time. Fourth: we should not forget that 1939 is a special year, the year of the highest rise of Nazism, the year of the 50th anniversary of the Fuhrer. It is simply naive not to take into account the specifics of totalitarian regimes when referring to sources of that time.

That's all the notorious "proof". For his sake, it hardly made sense to strain the gentlemen from Germany and then talk about shellac and the explorer's stale bread. It was enough just to look into the "Soviet musical encyclopedia”, like a BBC listener who wished to remain anonymous from a village in the Ivanovo region. There, in an article about Khait, the year the Soviet march was written is indicated in black and white - 1921, long before 1926. After all, this was also written by “musicologists, researchers and contemporaries.” It’s even a shame: there is no trust in our magazines, but the Die Musik magazine, issue XXXV / 9, June 1939, is, of course, “iron” proof.

Conclusions: the "iron" proof of Rinat Bulgakov can hardly be considered even indirect evidence. None of those serious questions, which we spoke about above, is not removed in Bulgakov's article. The issue of priority remains the same. Based on the totality of circumstantial evidence, the version about the way of borrowing in the direction from the Nazi march to the Soviet one still looks preferable.

That's it…

Valentin Antonov, December 2006