Now I’ll actually lay out several options for the words of the waltz itself.
Even before the revolution, several versions of verses were set to the music of the waltz "Moksha Regiment on the Hills of Manchuria". The most widespread were the words that belonged to the famous Russian poet and writer Stepan Gavrilovich Petrov (better known under the pseudonym Wanderer). It was this version (with some minor changes) that was performed by the famous singer Ivan Semenovich Kozlovsky.
"Moksha Regiment on the Hills of Manchuria"
poet Stepan Gavrilovich Petrov (Wanderer)
Quiet around, the hills are covered with haze,
The moon shone from behind the clouds,
Graves keep peace.
White crosses - the heroes are sleeping.
The shadows of the past are circling for a long time,
They talk about the victims of the battles.
Quietly around, the wind carried away the fog,
On the hills of Manchuria the soldiers sleep
And Russians do not hear tears.
Crying, crying mother dear,
Crying young woman
Everyone is crying as one person
Evil fate and cursing fate! ...
Let the kaoliang bring you dreams
Sleep heroes of the Russian land,
Fatherland native sons.
You fell for Rus', you died for the Motherland,
Believe us, we will avenge you
And let's celebrate the bloody feast.
Here is another pre-revolutionary version.
"On the hills of Manchuria"
Sleeping kaoliang,
The hills are covered with haze...
On the hills of Manchuria the soldiers sleep,
And Russian tears are not heard ...
Scary all around
Only the wind on the hills is crying
Sometimes the moon comes out from behind the clouds
The graves of soldiers are illuminated.
White crosses
Distant heroes are beautiful.
And the shadows of the past swirl around
They tell us about the sacrifices in vain.
In the midst of daily darkness
Everyday everyday prose,
We still cannot forget the war,
And hot tears flow.
Heroes body
They have long since decayed in their graves,
And we did not repay them the last debt
And the eternal memory was not sung.
So sleep, sons
You died for Rus', for the Motherland.
But still believe we will avenge you
And let's celebrate the bloody feast.
Crying, crying mother dear
Crying young woman
All Rus' is crying like one person
Evil fate and cursing fate ...
Quoted from the album "Mitkovo Songs".
The most well-known today is this version of the words. This version was sung by K.I. Shulzhenko, and today D. Hvorostovsky sings.
"On the hills of Manchuria"
poet Alexei Ivanovich Mashistov
The night has come
Twilight fell on the ground
Desert hills drown in the mist,
A cloud covers the east.
Here, underground
Our heroes sleep
The wind sings a song above them and
The stars are looking down from heaven.
That was not a volley from the fields flew -
It was thunder in the distance.
And again everything is so calm around,
Everything is silent in the silence of the night.
Sleep, fighters
Sleep peacefully
May you dream of native fields,
Father's distant house.
May you die in battles with enemies,
Your feat to fight calls us,
The banner washed with the blood of the people
We will carry forward.
We will go towards a new life,
Let's throw off the burden of slave shackles.
And the people and the fatherland will not forget
Valor of their sons.
Sleep, fighters
Glory to you forever!
Our homeland, our dear land
Do not conquer the enemies!
Night, silence
Only the kaolian makes noise.
Sleep, heroes, the memory of you
Motherland keeps!
Quoted from the book: “Old Waltzes, Romances and Songs. Songbook "- Compiled by E. B. Sirotkin. L., "Soviet composer", 1987.
In 1945, the front-line poet Pavel Nikolaevich Shubin (1914-1951) wrote another verse test to the music of Ilya Shatrov. The idea of the text was inspired by the battles of the Red Army with the troops of militaristic Japan. A new poetic version of "On the Hills of Manchuria", composed by Pavel Shubin, was published by the newspaper "Stalin's Warrior" of the 1st Far Eastern Front and was immediately picked up by the soldiers, who sang it to a familiar tune. This song was performed by front-line and army ensembles. This text, well known after the Great Patriotic War, can be considered the least known today. In 2007, this recording, previously unknown to researchers, was made by Konstantin Vershinin from the Artel's record "Plastmass" under the number 1891. The recording of the song was performed by P.T. Kirichek dates back to 1958.
"On the hills of Manchuria"
Poet P. Shubin
The fire is fading,
The hills were covered with fog.
Light sounds of an old waltz
Quietly leads the button accordion.
In tune with the music
Remembered the hero-soldier
Dew, birch, blond braids,
Girly cute look.
Where they are waiting for us today
In the meadow in the evening
With the strictest touch
We danced this waltz.
Timid date nights
Long gone and disappeared into the darkness...
Manchurian hills sleep under the moon
In powder smoke.
We saved
Glory to the native land.
In fierce battles we are in the East,
Hundreds of roads have been passed.
But also in battle
In a distant foreign land,
We remember in bright sadness
Motherland.
Far away oh far away
At this moment from the spark.
Gloomy nights from Manchuria
Clouds drift towards her.
Into the dark space
Past the night lakes
Lighter than birds, above the border
Above the Siberian mountains.
Leaving the gloomy edge,
Fly after us in a joyful let
All our brightest thoughts,
Our love and sadness.
The fire is fading,
The hills were covered with fog.
Light sounds of an old waltz
Quietly leads the button accordion.
Quoted from the recording on the record of the Artel "Plastmass" No. 1891
And here is the modern version of the words in Ukrainian.
"Mi pam" yataєm "
Poet M. Rokhlenko
Zvintar old,
Equal rows of graves.
Remaining abutment of glorious blues
Cho did not mess up the forces
For the native land,
For our shortest days.
The sun gently shines from heaven,
І to gild crosses.
I burn crosses of gold,
Not medals - warts.
Keep calm warriors,
What lies near the Syrian land.
Do not see the enemies.
Cry, cry dear mother,
The young team of slіzonka llє.
All Batkivshchyna is sad for you,
I will tell you to see.
Souls of the soldiers
Our peace of mind to harrow.
Choti y roi - for the rest of the parade
Viishla holy host.
Your life is not a gift.
We did not forget the heroes of the war
The memory of you is alive!
I burn crosses of gold,
Not medals - warts.
Keep calm warriors,
What lies near the Syrian land.
Sleep, warriors, glory to you!
Our Vitchizna, native land,
Do not see the enemies.
On the Hills of Manchuria (originally, the Moksha Regiment on the Hills of Manchuria) is a Russian waltz of the early 20th century, dedicated to the soldiers of the 214th reserve Moksha Infantry Regiment who died in the Russo-Japanese War. The author is the military bandmaster of the regiment Ilya Alekseevich Shatrov. Due to its wide distribution, some verses were modified during oral transmission, so that you can find slightly different versions of it. In this version, Yulia Zapolskaya performs the pre-war version of the waltz.
Quiet around. The hills are covered with mist.
Here from behind the clouds the moon shone, The graves keep peace.
White crosses - These are the heroes sleeping.
The shadows of the past are circling again, They say about the victims of the battles.
Quietly around, the wind blew away the fog,
On the hills of the Manchurian warriors sleep And the Russians do not hear tears.
Crying, crying mother dear, Crying young wife,
Crying all, as one person, Evil fate and cursing fate.
Let the kaoliang bring you dreams
Sleep, heroes of the Russian land, sons of the Motherland.
You fell for Rus', You died for the Fatherland.
But believe, we will avenge you And we will celebrate a glorious feast.
YULIA ALEKSANDROVNA ZAPOLSKAYA (WHITNEY) (1919-13.08.1965) - Soviet film actress and singer, composer was born in Moscow. Father - Alexander Zapolsky (economist), mother - Estella Khokhlovkina. Parents met at the University of Liege, around 1914 they returned to Moscow, where Yulia was born. She graduated from the Gnessin School, in the vocal class. During the war, Zapolskaya was part of the pop group of Konstantin Smirnov-Sokolsky. She sang her songs to the accordion. In the late 1940s, Yulia sang at the Repeat Film Theater near the Nikitsky Gates, then it was customary to invite artists to perform before screenings. She also had several performances after the war with the Utesovsky Orchestra. Later, Yulia Zapolskaya met US citizen journalist Thomas Whitney and emigrated from the USSR in 1953. They got married in 1959 in Finland. Thomas Whitney helped her record a series of discs for the well-known American company Monitor, which released what is called "world music". Her first disc was called “Moscow After Dark” (“Midnight Moscow”), released by his studio “DECCA”, and the disc achieved quite a wide success. In total, the singer has recorded and released 10 vinyl discs. She also wrote a book of children's stories. The first official disc of Yulia Zapolskaya in Russia was released in 2002. She died and is buried in New York. In the early 1990s and in 2007, the entire series of Yulia Zapolskaya's records was re-released in the USA.
Mikhail Dyukov http://russianshanson.info/?attr=1&am...
Sheet music for piano can be found here
On the hills of Manchuria
Performed by the choir of the Moscow Sretensky Monastery a cappella, artistic director and conductor - Nikon Zhila. Concert dedicated to the Day of St. George the Victorious (May 6, 2009).
Music - I. Shatrov, lyrics - A. Mashistov.
Soloist - D. Beloselsky.
Lyrics by P.Shubin
Studio Orchestra conducted by An.Badkhen
(1891 - 1958 Local industry)
And here is another story about the evolution of the song, which is not so funny anymore. Rather, on the contrary, it is sad and, at first glance, generally seems surprising. The phenomenon that caused this is quite well known and often occurs in musical life. I'm talking about the theme of "transformations" already familiar to readers, when the gradual transformation of a musical work, which occurred in the course of an increase in the number of its interpretations, completely changed not only the form, but also the meaning of this work. What is most impressive is the difference between the two extreme links of this evolutionary chain, especially if its intermediate links are out of sight.
Take, for example, the story of one of the most beautiful Russian waltzes "On the Hills of Manchuria". In general, it often happened that words were written on the melody of beautiful waltzes. As a rule, in discographies they were listed as "folk". Let us recall, for example, "Amur Waves" performed by the Song and Dance Ensemble of the Navy, "Danube Waves" by Utyosov, and so on. As a rule, you notice that there less successful texts seem to be stretched to the music for which they were written. An analysis of the etymology of the musical themes of Soviet waltzes can serve as an explanation for this - as a rule, they were based on older melodies, the source texts of which clearly inherited the generic features of the pre-revolutionary petty-bourgeois romance - invariable pretentiousness, aesthetic anguish, idealized themes. These texts, subsequently, were either changed so that they would not contradict the canons of the Soviet song genre, or simply not performed, as inappropriate to the spirit of the times. For the Soviet song, this "phenomenon of transference" is comparable in meaning to the "phenomenon of transference" from the pre-Pushkin period in Russian poetry - it was through the efforts of Soviet authors that the song ceased to be the privilege of one class or another and became a mass song, everyday, understandable and accessible to everyone and everyone.
As for the waltz "On the Hills of Manchuria", for sure, each of those who read these lines right off the bat can remember for themselves a couple of texts that they remember from childhood, especially those that were customary to perform quietly after lights out in pioneer camps, and even then only strictly under the condition of the absence of elders (although recently such verses are no longer shunned by comedians on the stage). Few people know, let's face it - practically no one knows what the real words of this waltz were, to which our grandfathers and grandmothers danced, what semantic load they originally carried. The beginning of this research was once a letter from Alexander Melnikov. "This song was written after the Russo-Japanese War - a war that was incompetently lost. It is dedicated to Russian soldiers who died, in fact, in vain (as they said then, the war began "because of firewood", i.e., concessions for timber production). Therefore, the content of the texts is appropriate," he wrote. The texts themselves were also attached to the letter - one pre-revolutionary, the other already Soviet.
As it is easy to understand, Ivan Kozlovsky performed the first version, although with slightly different words. For example, the "bloody feast" is still too cool, even if we take into account the state of the historical moment (and we have already heard enough about the "bloodthirstiness" of the Russian people!). Besides, politics and genuine art are incompatible.
In 1945, the front-line poet Pavel Shubin wrote another verse test to the music of Ilya Shatrov. The idea of the text was inspired by the battles of the Red Army with the troops of militaristic Japan. This text can be considered the least known, all the more surprising that the recording of the waltz was preserved in the recording. In 2007, this recording, previously unknown to researchers, was made by Konstantin Vershinin from the Artel's record "Plastmass" under the number 1891. The recording of the song performed by P.T.Kirichek dates back to 1958.
|
On the hills of Manchuria
Scary all around White crosses In the midst of daily darkness Heroes body So sleep, sons Crying, crying mother dear |
On the hills of Manchuria
Here, underground That was not a volley from the fields flew - Sleep, fighters, sleep peacefully, May you die in battles with enemies, We will go towards a new life, Sleep, fighters, glory to you forever! Night, silence, only the kaoliang makes noise. Quoted from the book: "Old Waltzes, Romances and Songs. Songbook" - Compiled by E. B. Sirotkin. L., "Soviet composer", 1987. |
On the hills of Manchuria
In tune with the music Where they are waiting for us today Timid date nights We saved But also in battle Far away oh far away Into the dark space Leaving the gloomy edge, The fire is fading, Quoted from the record on the record of the Artel "Plastmass" No. 1891 |
serious Alexander provided assistance in working on the text of the history of the waltz. Unfortunately, I did not specify his name in time, but I hope he will respond and allow me to correct the misunderstanding. Thanks to correspondence with him, the material acquired a finished form. I would like to express special gratitude to the Samara local historian A.N. Zavalny, who provided invaluable assistance in finding materials about the Samara period of I. Shatrov's life.
Our Waltz.
The author of the waltz "On the Hills of Manchuria", Russian army conductor Ilya Alekseevich Shatrov (1879-1952), was born on April 1, 1879 in the family of a tradesman (according to other sources, a merchant) in the city of Zemlyansk, Voronezh province. He grew up in a large, friendly and musically gifted family. From childhood, the boy absorbed ingenuous folk motives and played various folk instruments. His cousin Elena Mikhailovna Fafinova-Shatrova became a professional musician.
After the death of his father in 1893, Ilya was brought up in a platoon of trumpeters of the Grodno Hussars. In 1900, he graduated from the Warsaw Institute of Music in absentia and received the title of military bandmaster. Since 1903, I.A. Shatrov served as bandmaster of the 214th Moksha Infantry Regiment in Zlatoust. He spent his leisure time in the circle of local amateur musicians, tried his hand at composition. Returning to the Urals after the Manchurian battles, Shatrov created a piece of music that glorified him - the waltz "On the Hills of Manchuria".
In those years, many works inspired by Far Eastern events appeared. These were songs about the feat of the cruiser "Varyag" (among others, engineer-general Caesar Cui responded to this topic), "Heroic Feat" by A. Taskin, "Prayer for Victory", "The Death of Rurik", "In Memory of Vice Admiral Makarov", the march "Port Arthur" and "From the fallen strongholds of Port Arthur" by A. Danilevsky, "On Baikal" by V. Katansky, "The Trans-Baikal Waltz" by V. Bekner and others.
The musicians, together with the army, endured all the hardships of the war, took a direct part in the battles. The lists of awardees testified to the heroism of the musicians. Kapellmeisters of the Russian army did not have officer ranks, most of them were civilians, and, according to the charter, were awarded medals. But as an exception for service or combat merit, some of them were granted civil ranks corresponding to officer ranks and awarded orders.
Upon the announcement of mobilization on June 1, 1904, the Mokshansky regiment turned into field infantry regiments - the 214th Mokshansky (54th division) and the 282nd Chernoyarsky (71st division). The 214th Moksha Regiment included: 6 staff officers, 43 chief officers, 404 non-commissioned officers, 3548 privates, 11 horse orderlies and 61 musicians. In February 1905, the regiment took part in bloody battles near Mukden and Liaoyang. Mokshans did not leave the battles for eleven days, holding their positions. On the twelfth day the Japanese surrounded the regiment. The forces of the defenders were running out, ammunition was running out. At this critical moment, a regimental band began to play in the rear of the Russians, conducted by Kapellmeister Ilya Alekseevich Shatrov. Marches changed each other. Music gave the soldiers strength, and the encirclement was broken.
The regiment was practically destroyed, 7 musicians survived, who were later awarded St. George's crosses, honorary silver trumpets. Bandmaster I.A. Shatrov for "excellent diligent service to the assigned environment" in the summer of 1904 was awarded the silver medal "For diligence" to be worn on the Anninsky ribbon, and in the winter of 1904/05 "for differences at different times against the Japanese" was awarded (the second of military conductors in Russia), an officer order - Stanislav of the third degree "with swords" (According to another version - 1st).
On May 8, 1906, the Moksha Regiment returned to the Urals. In the summer of 1906, in the city of Zlatoust, Shatrov created the first edition of his waltz. He acquired a piano and was engaged in playing music, composing military music and musical lyrics. He was a member of the local musical circle, which met at the apartment of the priest of the railway station church, a great music lover Lavr Fenelonov. This was later told by Evgenia Chertopolokhova, who was one of the first to hear the waltz "On the Hills of Manchuria" performed by the author. Shatrov dedicated the waltz to his dead friends and created the first version of "On the Hills of Manchuria", the title of which was "The Moksha Regiment on the Hills of Manchuria". Soon this waltz became known not only in Russia, but also abroad. At the time of writing the waltz, Ilya Alekseevich Shatrov was 27 years old.
After the excitement of the Moksha people from September 18, 1906 until the disbandment in July 1910, the Moksha regiment was redeployed to Samara. Here Shatrov became friends with the teacher, composer and music publisher Oscar Filippovich Knaub (1866-1920), who provided the novice composer with serious assistance in completing the work on the waltz and its subsequent publication. In June 1907, the notes of I. Shatrov's waltz "The Moksha Regiment on the Hills of Manchuria" were already on sale in O. Knaub's cheap editions store.
In Samara, the first performance of the waltz by the regimental orchestra took place. This happened in the garden of the city estate (Strukovsky garden). However, the Samara public did not accept the waltz - the provincials silently dispersed, not bothering themselves with applause.
On April 29, 1908, the Gorodskoy Vestnik newspaper wrote about this: “In the Strukovsky Garden, since April 24, the orchestra of the Moksha regiment quartered in Samara has been playing, under the direction of Kapellmeister Shatrov, who apparently set out to eliminate bravura pieces from the musical works played by the orchestra, with by the indispensable participation of the rumbling Turkish drum and the crackling of copper plates. The audience, accustomed to the bravura system of all kinds of potpourri, silently greeted the playing of the orchestra, although the pieces played were developed quite solidly and conscientiously. "
However, a year later, the waltz was warmly appreciated and accepted by the public: the circulation of notes (and since 1910 of gramophone records) significantly exceeded the circulation of other fashionable waltzes. His popularity was extremely high. Only in the first three years after writing the waltz was reprinted 82 times. Gramophone records with music written by Shatrov were produced in huge numbers. Abroad, this waltz was even called the "national Russian waltz". Only in the pre-revolutionary years, several versions of the text were written to the popular melody. The most widespread were poems written by Stepan Skitalets:
Quiet around, the hills are covered with haze,
The moon shone from behind the clouds,
Graves keep peace.
White crosses - the heroes are sleeping.
The shadows of the past are circling for a long time,
They talk about the victims of the battles.
Quietly around, the wind carried away the fog,
On the hills of Manchuria the soldiers sleep
And Russians do not hear tears.
Crying, crying mother dear,
Crying young woman
Everyone is crying as one person
Evil fate and cursing fate! ...
Let the kaoliang bring you dreams
Sleep heroes of the Russian land,
Fatherland native sons.
You fell for Rus', you died for the Motherland,
Believe us, we will avenge you
And let's celebrate the bloody feast.
Some editions of the waltz were accompanied by author's remarks to musical phrases: "It's sad" or "The conversation of orphaned women", "The conversation of soldiers". And for the remark “The wrath of the soldiers”, the holder of the Order of Stanislav was summoned to the police station.
Thanks to the help of O. Knaub, Shatrov released his second waltz - "Country Dreams", the theme of which was inspired by the author of his passion for the seventeen-year-old girl Alexandra Shikhobalova. By 1911, this waltz was successfully sold out.
Both the waltz "On the Hills of Manchuria", which reflected the mood of a difficult wartime, and "Country Dreams", which continued the traditions of Russian everyday waltz and embodied a peaceful idyllic picture, were inferior, perhaps, to O. Knaub's waltzes fashionable at that time in technical skill, "smoothness » forms. But, unlike Knaub's waltzes, Shatrov's waltzes were characterized by a brightly folk characteristic melody. This made them noticeable, memorable.
1910 was a dramatic year for the Kapellmeister. The Moksha regiment was disbanded. A loved one has died. Romantic hopes for the future collapsed one after another. All this was reflected in the work of I. Shatrov "Autumn has come" (published in 1911) on the words of Y. Prigozhy.
The noisy success of the first compositions showed the novice composer that popularity also has a reverse, less pleasant side. He had to deal with what today is called "piracy" in relation to his intellectual property. There was also an attempt to bring I. Shatrov to court. On December 18, 1910, the newspaper "Voice of Samara" reacted to this event with a mocking feuilleton, signed with the pseudonym "Igla". In order to show the reader the full extent of the tragedy of the position of the young composer, I quote this feuilleton in full. It must be said that the real name of its author (sometimes it is possible by a pseudonym) has not yet been established.
A small feuilleton "Thank you, I did not expect!"
That was a long time ago...
Shortly after the end of the Russo-Japanese War.
In the summer I often went to the Strukovsky Garden and enjoyed there the marvelous enchanting sounds of the new waltz.
- "On the hills of Manchuria"
This waltz became the most popular in the city, and the name of its author, Mr. Shatrov, did not leave the lips of an idle layman.
How many feelings! adults said.
Only one who himself experienced all the horrors of a military campaign, who felt, so to speak, the hills, tragic for the Russian people, can write like that.
Ah, darling, Mr. Shatrov! What talent, what insight!
You used to hear the exclamations of addicted gymnasium girls.
Always cheerful, cheerful, cheerful, they saw him in Samara.
Since then, much has changed in the fate of the maestro ...
And you will understand my disappointment, you will be "taken aback" when I present you with the following note, borrowed by me from the Zhytomyr newspaper "Volyn":
"The bandmaster of the Kazan cavalry regiment S.V. Grigoriev left for Moscow to restore his copyright to the popular waltz -" On the Hills of Manchuria ". The plagiarist is a certain Mr. Shatrov, brought to criminal responsibility by Mr. Grigoriev. investigator."
- ?!
Thanks, didn't expect it!
And so, there is, if this note is correct, a dispute about the "waltz".
The waltz is ours - or not ours!
What catches your eye when reading this libel? First of all, the fact that both the feuilleton itself and the article in the Zhytomyr newspaper were clearly custom-made, provocative in relation to I. Shatrov. The form of presentation of the given data, the pathos with which all this was presented suggests that its author (authors) set as his goal at any cost to demoralize the composer, to hit him in the most sore spots, without thinking about the moral side of the issue. The actual part, which occupies about one-eighth of the entire text, is more than debatable. Firstly, it is indicated that the case is in the "rudimentary" stage, that is, there can be no talk of any collected evidence base in relation to I. Shatrov. In this regard, the phrase “a certain Mr. Shatrov is a plagiarist” cuts the ear of a thoughtful reader... But what about the notorious presumption of innocence, according to which only a court, during a hearing, can find a person guilty of anything?
Secondly, the most interesting thing is that Grigoriev leaves for Moscow to restore his copyright. And why, in fact, to Moscow? Why can't justice be restored in the Kazan, Zhytomyr, Samara or some other court, which is much closer to the applicant?
However, Ilya Alekseevich Shatrov, the same person "who himself experienced all the horrors of a military campaign" was not a shy one. Obviously, people who tried to slander him encroached on what remained the most sacred for the composer - his bright memory of the fallen comrades. And for her he was ready to fight to the end.
The lawsuit in the case of I. Shatrov, in the context of the struggle for copyright observance by sound recording companies that flared up at that time, went down in the history of recording as a turning point, which laid the foundation for the fact that gramophone companies began to actually reckon with the interests of the authors of musical works. I have every reason to believe that in reality, Mr. Grigoriev was nothing more than a dummy figure, whose role was to remove I. Shatrov from the scene of actions, as an interested person. Indeed, if it turns out that Shatrov is not the author, then he cannot have any rights, and therefore the subject of the trial automatically loses its meaning. The claim, obviously, Grigoriev was counter, so he went to Moscow, where in 1910 many cases on the rights to authorship were already considered, including the claims of Shatrov himself. Understanding the legal inconsistency of the counter-accusation, its developers counted more on the external effect, on the rumors of the townsfolk, it was a kind of psychic attack.
The impunity of producers of gramophone records was due to the absence of a copyright law in Russia. In light of this, the authors' claims were not satisfied by the courts. Their bearers did not even have the right to moral satisfaction, not to mention material compensation. Copyright law did not come into force until 1911. And almost immediately the newspaper "Volzhskoye Slovo" No. 1254 for 1911 publishes a small note: "The author of the waltz "On the Hills of Manchuria", Mr. Shatrov, filed suits against gramophone companies and music publishers that produced records and notes of this waltz without the permission of the author, contrary to the law about copyright". The essence of this note was in her last phrase. After all of the above, it also becomes obvious that victory in court cases, the defendants of which did not shun slander and forgery, was a matter of honor for I. Shatrov.
In addition to the fact that gramophone firms violated the rights of authors and performers, they also caused significant damage to each other by releasing so-called "copied records". Such records were illegally made copies of discs of famous artists, which were sold at a price much lower than they were sold by the manufacturer. A.I.Zhelezny tells about this in detail in the book "Our friend the record", Kyiv, 1989. Despite the fact that the material refers to the events of a hundred years ago, it is perceived as strikingly modern.
"Even in the early years of the development of domestic recording, a procedure was established according to which a gramophone company entered into an agreement with a performing artist, paid him a fee, and appropriated all the income from the sale of recorded records. This procedure was very beneficial for the company, to a lesser extent it suited the artists "performers" and certainly did not take into account the interests of the authors of the works recorded on the disc. Meanwhile, the latter quite reasonably believed that gramophone firms, using their works and making a profit from it, are obliged to deduct part of their income. There is a known case when the composer A. Manykin- Nevstruev unsuccessfully tried to recover through the court from the Gramophone joint-stock company a fee for his "Song of the Wretched Wanderer", recorded on a disc performed by F.I. only voices and the transmission of works by artists.
However, the artists, whose skill was actually a source of income for gramophone firms, could not be satisfied with the current situation. The fact is that they received a lump sum fee for the recording, and the company extracted income from the sale of records over the years. So, for example, the talented opera singer L.M. Klementyev died in poverty, leaving his family without any means, and the thirteen records he sang for a long time after the death of the singer brought income to the Gramophone society. There was no copyright law in relation to the recording then, and this made it possible not to reckon with either composers or performers.
In 1909, the artist of the Mariinsky Theater A.M. Davydov, who sang several hundred records, tried to create an alliance for the organized struggle of artists for their rights, but the resistance of the gramophone manufacturers was so great that nothing came of this venture.
In the meantime, the distribution of copied records on the Russian market assumed such menacing proportions that it began to bring significant losses to many large gramophone firms, whose records were regularly copied. This circumstance forced the gramophone manufacturers to significantly soften their resistance. Thus, a favorable situation has developed for the adoption of an appropriate law regulating the relationship of all parties involved in the creation of a gramophone record.
From that moment on, copied records were outlawed, so the Orpheon Record company (which specialized only in this kind of activity - my note) ceased operations, and gramophone societies had to pay royalties.
On the labels of many pre-revolutionary Russian records, there are often pasted stamps with the inscription "AMPRA". The appearance of these brands is the result of a long and fierce struggle between the authors of musical works used for recording on a record and the owners of gramophone factories. To control the implementation of the copyright law, the so-called Mechanical Music Rights Agency of the Russian Author (abbreviated as AMPRA) was created, with which each gramophone company was obliged to conclude an agreement. According to the contract, the author of the work recorded on it should be deducted a certain percentage from the cost of each disc sold, and the fact of such deduction was certified by sticking a special mark "AMPRA" on the label of the disc. It must be said that not all composers wished to take advantage of the protection of their rights by the Agency. Some of them preferred to seek their remuneration from the gramophone firms on their own. In this case, so-called "author's stamps" were pasted onto the label of the disc, which also confirmed the fact that the company had paid royalties.
However, not all gramophone firms immediately resigned themselves to the requirements of the new law. An energetic attempt to prevent its implementation was made by the owners of "Pate" and "Metropol Record". Organized only in August 1910, the Metropol Record company had not yet had time to feel the harmful effects of plagiarism-copiers, and the Pate company was generally insured against copying by releasing its records with an unusual "vertical" recording. The Metropol Record firm took the initiative to convene a meeting of gramophone record manufacturers who were dissatisfied with the new law. The meeting was scheduled for December 12, 1911 and was to be held in one of the Moscow hotels. The following were invited: Sirena Record, Russian Joint-Stock Company of Gramophones, Extra-Fon, Lyrofon, Janus Record, Stella Record, and others. release of copied records. The meeting, apparently, was not successful, since at first the records "Gramophone" and "Zonophone", and then "Pate", "Extraphone", "Sound", etc., had already begun to sell records with pasted marks "AMPRA" and author's stamps, and Sirena Record lost the lawsuit to I. Shatrov, the author of the popular waltz "On the Hills of Manchuria", and was forced to pay him an author's fee of 15 kopecks. from every record sold." (End quote)
Here it is, the very record of the Sirena-Record company, because of which a court drama flared up 100 years ago. Shameless businessmen decorated their products with bright, attractive stickers that captivated the layman with their appearance. Cynical profit, making a profit on the sale of music written in memory of fallen comrades could not leave the composer indifferent. Ilya Shatrov was lucky to restore justice. Many years have passed since then. Today both this disc and I.Shatrov's waltz have become the property of history.
Yury Bernikov, the author of the website, tells about the history of these recordings. "Encyclopedia of Russian pre-revolutionary recording":
One of the most difficult tasks of any study is to establish the date of recording, because the manufacturers did not indicate it on their records. Even those rare firms that did this often gave it in encrypted form. I've always wondered why? The answer turned out to be rather banal: the public in those distant years was just as subject to the fever of "acquiring the newest", as is the current one, naively believing that "new is always better". If the dates of the recordings were indicated, then no one would buy "last year's" records.
The record "Siren-record" can be dated around August-October 1909. The recording was made in Warsaw. The date of recording on a RAOG record can be determined even more approximately: it has a matrix / catalog number 8010 (for RAOG records, the matrix and catalog numbers coincided). Records with such numbers were issued in 1912. Pay attention to the fact that there is no AMPRA stamp on the disc - a certificate of payment of royalties to the Agency for Musical Rights of Russian Authors. The question involuntarily arises: did the owner of the RAOG company, the former "Russian Pirate No. 1" and the owner of the infamous pirate company "Orpheon" David-Moisei Abramovich Finkelstein, decide to take up the old ways and not pay royalties? I am convinced that this is not so, because the RAOG company was created by Finkelstein precisely with the aim of "starting a new life." Since the company only began sticking the AMPRA stamps on September 1, 1912, it seems most likely that this record was released before this date, which means that the AMPRA stamp should not be on it. These considerations allow us to establish a more accurate release date - this is January-August 1912.
The label also has a curious inscription "Etiquette declared". This is an abbreviation for the full phrase "Etiquette declared to the Department of Trade and Manufacture". It meant that the label (trademark) was registered and no one could produce goods with the same one. Forgery was punishable by law. That's about trademarks in Tsarist Russia.
The site has another version of the waltz, Zonophon Record. The label, unfortunately, is almost unreadable, but the sound is very good. The performance most likely belongs to M.I. Vavich, but there is a small chance that Bohemsky "worked for him" (see my comment on the entry). In any case, whoever is on the record, this performance is much better than on the RAOG record.
After the October Revolution, Ilya Alekseevich joined the Red Army, served in military bands in many cities. In total, he participated in four wars. In Civil, he was the bandmaster of the red cavalry brigade. From about the 1920s to 1935 he served in the Pavlograd garrison. In 1935-1938. Shatrov led the orchestra of the Tambov Cavalry School, then retired from the reserve and from 1938 to the Great Patriotic War he worked in Tambov. With the outbreak of war, he was again in the ranks - in the position of bandmaster of the division. For participation in the Great Patriotic War, Ilya Alekseevich was awarded the Order of the Red Star, medals "For Courage" and "For Military Valor". In 1951-52 Major Shatrov, a military conductor of the Guards, was in charge of the musical department at the Tambov Suvorov School and trained future officers.
Years later, in the late 40s, Ilya Alekseevich returned to the theme of the Russian-Japanese war and created another waltz - "Blue Night over Port Arthur", in which he used the melody of "Country Dreams". However, the verses of the army poet A. Kuzmichev, which would have been more suitable for a march-like melody, obviously did not agree well with lyrical music. This work was never published... Its content is simple and poetic. In the land of the blue hills, Russian soldiers sleep in mass graves. Grandchildren and great-grandchildren came to bow to them. Now they have risen to defend the sacred borders of the Motherland. They vigilantly guard the peace of the heroes of two wars. Behind them is a great victorious country. In their hearts there is a selfless love for the Motherland, a readiness to multiply its honor and glory.
Ilya Alekseevich was buried at the Tambov Vozdvizhensky cemetery. Above the grave is a slab of white marble with an inscription in gold: "Major of the Guard, composer Ilya Alekseevich Shatrov. Creator of the waltz "On the Hills of Manchuria." Memorial plaques were installed on the building of the current Tambov Military Aviation Engineering Institute, on the house in which Ilya Shatrov lived.
And so, the waltz spread all over the world. Abroad, it was called the "Russian National Waltz". In Russia, the name of its author began to be slowly forgotten. First, the dedication to the Mokshan Regiment disappeared from the name of the waltz. It remains just "On the hills of Manchuria." Then the name of the author disappeared. On Soviet records, they wrote that the waltz had become simply “old”.
A group of band members of the Guards Svir division. In the center on the right - I. A. Shatrov (1947).
photo from the article “On the Hills of Manchuria” (L. Eremina, G. Eremin)
Musical life, 1980
This detail might not seem so important, if we do not take into account the tenacity with which Shatrov previously sued plagiarists and gramophone manufacturers. But not a single evidence has been found that in the Soviet years he tried to remind forgetful contemporaries of his authorship. "Old Waltz" - this is the highest degree of recognition of the author during his lifetime! Could there be a higher reward for its creator!
In 1943, a jazz orchestra led by Utyosov prepared a new concert program, in which Shatrov's waltz was performed. Filled with new, patriotic content, he spoke of the Russian soldier's love for the Motherland:
"You are a brave warrior, you are worthy of your ancestors, you are a faithful son of the Motherland!"
The waltz was also recorded by I.S. Kozlovsky:
"You fell for Rus', died for the Motherland...
Believe me, we will avenge you.
And we will celebrate a glorious feast!"
At the end of the Great Patriotic War, the waltz "On the Hills of Manchuria" was often performed on the radio and in concerts in connection with the solemn minutes that marked the victory of the Soviet Army over the Japanese militarists in Manchuria.
Used articles and materials
K. Petrova - "On the hills of Manchuria". Musical life, 1961
L.Eremin, G.Eremin - "On the Hills of Manchuria". Musical life, 1980
"Love for history begins with a waltz." "Trud" No. 079 of 05/14/2002
"Famous citizens of Pavlograd: Ilya Shatrov" Pavlograd news. August 5, 2004
"Moksha regiment on the hills of Manchuria" Newspaper "Tribuna". December 9, 2004
"Moksha regiment on the hills of Manchuria" - http://www.penza-trv.ru:8085/go/region/mokpolk#top
Additional Bibliography
Article "Orchestra of the Moksha Regiment". Military Historical Journal, No. 10, p. 83. (year unknown to me)
Stepanov V.K. "Composer Ilya Shatrov" Voronezh, 78.
Auerbach L.D. Waltz Tales. Chapter "Old Russian Waltzes" Moscow 80.
The story "Old Waltz" The book "Sail", issue No. 4, Moscow, 83. Page 137-142
By way of discussion.
Until the end of his days, I. Shatrov himself insisted that "On the Hills of Manchuria" was not a waltz requiem, but a declaration of love for the Motherland. However, we have to admit that this work is really very similar to a requiem. The reason is in the text. The waltz written by the composer had no text at all, he was not conceived in order to turn into a song. The text, written by the Wanderer, anticipated the emergence of an artistic movement that became popular, later called decadence. For the course of the established poetic currents of that time, this text was not at all something outstanding. This explains such a large number of rather free texts, composed in parallel by the common people. Rus' mourned the victims, but the song in which it was sung was for some reason performed in such a way that it more resembled either a secular romance or a funeral march.
That is why I like the Soviet version more. In simple terms, his text turns us to the future and there is no inconsolable anguish, no thirst for blind revenge, no grave-cemetery idealizations. The fact is that the pre-revolutionary version of the song, which today seems so exotic to us, was quite traditional for its time both in form and in content. Russia was going through difficult years, and the defeat in the Russo-Japanese War became one of the factors that influenced the formation of directions for the development of poetic thought. However, long before 1904, contemporaries already dreamed that Russia was on the verge of death, the creative community was tormented by nightmares, sad thoughts about the future, a new direction appeared in poetic circles, which later became known as decadence. Adherents of this trend wrote works that were thoroughly imbued with the spirit of disappointment, unwillingness to live, and the expectation of imminent death. As written in the introductory article by E. Osetrov to the book “Poetry of the Silver Age”, “art has never been so inextricably linked with eschatological visions as in the twentieth century, which abundantly harvested the mortal harvest.”
K. Balmont, F. Sologub, V. Bryusov, V. Ivanov, Z. Gippius, D. Merezhkovsky can be considered as bright representatives of this outstanding phenomenon in our literature. So, the early poems of Vyacheslav Ivanov are filled with a premonition of tragic events:
As rainy autumn smolders
Holy winter - a secret spirit
It flies over the black grave,
And only the lightest hearing
An unshakable thrill catches
Between the boulders...
The poems of Sologub and Bryusov combine anxiety and apocalyptic forebodings. In Bryusov's famous poem "The Pale Horse" the insane hero screams piercingly:
People! Do you not recognize the right hand of God!
A quarter of you will perish - from pestilence, famine and sword!
Fyodor Sologub wrote in 1914:
About the truth of the world, no matter what they say,
All of these are fairy tales, all of this is lies.
Pale dreamer, die in the basement
Where the mold covered the walls completely.
Basement air for a stunted chest,
And the promise of the afterlife.
And you want, oh people, people,
So that I love earthly life.
In many poems by D. Merezhkovsky, Z. Gippius, there is a rejection of a meaningless earthly life and a desire to quickly leave for another world:
In the radiance of pale stars, as in deathly eyes, -
Relentless, cold dispassion;
The last ray of dawn glimmers a little in the clouds,
As a memory of past happiness.
My soul is full of silent twilight:
No passion, no love with their sweet flour, -
Everything froze in the chest ... only the feeling of being.
It languishes with lifeless boredom.
D. Merezhkovsky, 1887
Let life choke, but I'm no longer stifled.
The last step has been reached.
And if death comes, follow it obediently.
I will go into her sorrowless shadow...
3. Gippius, 1894
The fates of these people developed differently after the revolution.For example, D. Merezhkovsky in the last years of his life in France was distinguished by pro-fascist sentiments and welcomed Mussolini and Hitler as leaders capable of eradicating communism. To the credit of Russian immigration, very few supported him.
So much for the "magic power of high art." We know well from real history how these "creative searches" sometimes ended. As can be seen from the experience of Russia, decadent poets with their art, even better than any raznochintsy revolutionaries, were able to anticipate the decline of the empire, devalue its ideals, which were always supported by the glory of the victorious traditions of the Russian army and Orthodox history. Today, the time has passed when it was customary to glue labels. Therefore, I will ask again - what do such verses call for?, what do they teach? Do they bring up the lack of will of the spirit, sing of the weakness of the flesh, plunge the minds into a gloomy painful chaos? While the intelligentsia in the clubs of the elite intoxication of fashionable salons suffered about the fate of the future, young people of consumptive appearance carried proclamations, shot at politicians and reformers, detonated bombs. The reformer Stolypin died at the hands of a terrorist. Against the backdrop of a decline in patriotic sentiment, Russia was forced to enter the First World War. In a Petersburg basement, a group of perverts committed the ritual murder of Rasputin... And Lenin prophesied great upheavals...
Moksha regiment
on the hills of Manchuria
January 19, 1878 in the course of the reform of the Russian army, 44 reserve infantry battalions were formed. Formed in Penza 59th Reserve Infantry Battalion(Commander Colonel K. M. Akimfov) based on the frame deducted from Ryazan local battalion. In 1891 the battalion is named Mokshansky(at the quartering of one of the companies). December 26, 1899 it is renamed to 214th Infantry Reserve Moksha Battalion(Commander Colonel Nikolai Gavrilovich Pirotsky). City Mokshan based in 1679, is located 40 versts from Penza on the guard line, where the townspeople with weapons in their hands defended their homeland from the predatory raids of the steppe nomads. On the coat of arms of the city were depicted “in the red field there are two reeds, ancient military weapons, as a sign that the inhabitants of this city are the essence of the old services, service people” .
Mokshans had their own traditions, banner, music choir (orchestra). Annually May 21st they celebrated the feast of the part. In 1900 the money allocated for the celebration of this event was transferred by the Moksha residents to the creation of a museum and a monument A. V. Suvorov- that year marked the 100th anniversary of the death of a brilliant commander. Band of the battalion (bandmaster V. L. Kretovich) took part in a concert of brass bands of parts of Penza, half of the collection also went to the Suvorov Fund.
November 26, 1900
, on the day of the cavalier holiday of the Order of St. George the Victorious, when parades of troops and Knights of St. George were held throughout the country, a parade was held in Penza with choirs of music with banners. The parade was commanded by a new, fourth commander of the Moksha battalion, Colonel Pavel Petrovich Pobyvanets, a participant in the Russian-Turkish war, for distinction in battles in the Transcaucasus, he was awarded military orders and golden weapons.
At the beginning of the 20th centuryaggravated the situation in the Far East. Ahead was the Russo-Japanese War. November 24, 1901 The Moksha battalion left the Finogeevsky barracks in Penza forever and relocated to Zlatoust. February 1, 1902 commander of the 54th reserve brigade colonel Semenenko informed the commander of the 214th Moksha battalion Pobyvanets about the proposed reorganization of the battalion into a two-battalion regiment (1)
.
At that time the workers Zlatoust plant opposed the administration. They came to the plant management, demanded better working conditions and the release of those arrested. March 13, 1903 by order of the Ufa governor. N. M. Bogdanovich Two companies of Mokshan soldiers were summoned and opened fire on the crowd of workers. 45
man was killed about 100- hurt. Echo "Zlatoust massacre"
swept across the country. By the verdict of the militant organization of the Socialist-Revolutionary Party, the worker Egor Dulebov May 6, 1903 killed Governor Bogdanovich.
Spring 1903two more companies were added to six companies so that the battalion could be turned into a two-battalion regiment, and a separate unit of the Mokshansky battalion in Yekaterinburg (5-8th company) was formed under the command of a lieutenant colonel Alexey Petrovich Semenov.
The Russo-Japanese War began. May 27, 1904 martial law was declared and "bringing to a reinforced composition" reserve units in the Kazan, Moscow and Kiev military districts. June 8 The Moksha reserve battalion deployed into two field infantry regiments: 214th Mokshansky in Zlatoust and 282nd Chernoyarsk in Yekaterinburg (from a separate unit of the 214th battalion). The Moksha Regiment included: 6 headquarters officers, 43 chief officer, 391 non-commissioned officer, 3463 privates, 11 horse orderlies and 61 musician (2) .
30 JuneSovereign Emperor arrived for the solemn farewell to the soldiers at the front in Zlatoust. Many Moksha residents received memorable gifts. Colonel Pobyvanets was presented with an excellent combat saber. The regiment marched out of the city in six echelons and July 31 arrived in Mukden, and August 14 took up positions on the left flank of the Russian army near Liaoyang on the Dalinsky Pass, which he successfully defended throughout the Liaoyang battles (3) .
September 26Moksha participated in the attack on Bensikha, but they especially distinguished themselves in the battles near Mukden, where more than 10 days, stubbornly defending and furiously counterattacking, the regiment held its positions near the railway, preventing the Japanese from encircling the Russian army. The heavily shell-shocked colonel remained in the ranks and in the most difficult moments commanded:
« Banner ahead! Orchestra forward!
To the sounds of an orchestra with thunder"Hooray!"Mokshans rushed after the 56-year-old commander to the bayonet and repelled enemy attacks. Orchestras (music choirs) in the Russian army have long been an invariable part of its organizational structure, creating the necessary psychological mood in battles, campaigns, and parades. A. V. Suvorov argued that"music doubles, triples the army" .
February 27, 1905 near Mukden, the regiment covered the withdrawal of artillery and the last convoys of the 22nd division, then he himself left the old positions. When retreating "shimosa" (4) was seriously wounded in the right thigh Colonel Pobyvanets (5) . He ordered the soldiers who rushed to him:
"First, pick up the wounded soldiers...".
He was taken out last. At the dressing station, straining his last strength, the commander asked to bring the banner of the regiment. He died in an ambulance train near Gunzhulin station.May 25, 1905Chrysostom with military honors saw off the heroPavel Petrovich Pobyvanetson the last journey(6) .
The war is over, Mokshans are left barely 700 Human. Chernoyarsk citizens were again attached to them. In January 1906 sent home the first spare. Moksha regiment returned to Zlatoust May 8, 1906. For heroism in battles, Moksha warriors were presented for awards and distinctions: breastplate - for officers, headgear - for lower ranks with the inscription "For distinction in the Russo-Japanese War of 1904-1905" (7) .
May 21st, on the day of the traditional regimental holiday of the Mokshans, the Zlatoust residents watched with interest a vivid picture of the parade of the famous regiment, marching under banners pierced by bullets and shrapnel Mokshansky And Chernoyarsk regiments. The skill of the regimental orchestra was highly appreciated (8) . The band members always went to the enemy together with the soldiers, they inspired the soldiers with their skill and courage. Even when the orchestra was not allowed to participate in battles, they often voluntarily threw themselves into the thick of battle, assisted the wounded, taking them out from under the fire. Covered with military glory, military bands in peacetime played in city gardens, at festivities and were indispensable propagandists of the best musical works in the most remote places of the country. And the military conductors themselves often composed beautiful melodies that are still popular today. These are the marches S. Chernetsky, "Farewell Slav" V. Agapkina, waltz "Amur Waves" M. Kyusa and etc.
With the start of the World War in 1914 The regiment was re-formed. July 17th in the Admiralteyskaya Sloboda near Kazan 306th Moksha Infantry Regiment flag was presented 214th Mokshansky. Mokshans participated in the Warsaw-Ivangorod operation 1914, in battles in the Vladimir-Volyn direction in 1916, on the river Styr, near the Kovno fortress. Everywhere they were faithful to their duty to the end.
In March 1918the regiment was disbanded (9) .
But loud glory Moksha regiment brought not the "Zlatoust massacre" and not even military exploits, but a composed in 1906 bandmaster of the regiment I. A. Shatrov waltz " Moksha regiment on the hills of Manchuria
. In the post-war years, a lot was written about this in our press (about a hundred publications are known, unfortunately, for the most part they are poor in true facts and abound in conjectures).
From birth, the waltz was accompanied by unprecedented success. In 1907 notes began to be published, and since 1910 gramophone records with waltz recordings performed mainly by military bands were released. Then the singers also sang it - they began to compose various versions of the text to the taste of the performers to the music.
The long name of the waltz did not fit into one line on the record label, and it was "cut down". Thus, the name of the legendary regiment, to which the waltz was dedicated, disappeared from the name. The authors of the texts also helped to forget him, often unaware of the existence of the Moksha Regiment. The first editions of the sheet music did not have text, but for the sake of completeness they contained some explanations: "talk of orphaned women"
, "Soldier Talk"
, "knock of wheels"
and etc.
On the popularity of the waltz "On the hills of Manchuria" such facts speak. By 1911 O. F. Knaub(Shatrov granted him a monopoly right) reissued notes 82 times (10) , and the firm "Zonophone" only for the first half of December 1910 sold 15 thousand records.
With the establishment of Soviet power, the waltz began to be interpreted as a symbol of tsarism, the White Guard and was practically not performed. In 1943 jazz orchestra (then State Jazz of the RSFSR) under the direction of L. O. Utesov used the motif "Hills" in a patriotic potpourri. In 1945 on the eve of the war with Japan, a waltz was sung I. S. Kozlovsky.
The famous waltz Ilya Alekseevich Shatrov(1879-1952) was born into a poor merchant family in Zemlyansk, Voronezh province. Orphaned at an early age, Ilyusha was brought up by his uncle Mikhail Mikhailovich, who, being himself musically gifted, taught the basics of music to his nephew. By the way, his daughter Elena Mikhailovna Shatrova-Fafinova later she sang on the stage of the Bolshoi Theater in Moscow.
After graduating from the district school, Ilya gets into a platoon of trumpeters Life Guards of the Grodno Hussars in Warsaw. In 1900 he graduated from the courses of bandmasters at Warsaw Musical Institute, then lived for several months in his native Zemlyansk without work. Apparently, not without the assistance of his former regimental commander, General O. Ya. Zander, which became in 1902 chief of staff Kazan Military District, in March 1903 Shatrov received the post of civilian bandmaster Moksha regiment in Zlatoust. With this regiment, he went all the way to the first disbandment of the regiment in 1910.
In 1904 the Moksha Regiment was part of 1st Manchurian Army. By order of her commander No. 273 of April 2, 1905
"for excellent, diligent service in a military situation ... a silver medal with the inscription "For Diligence" to be worn on the chest on the Annenskaya Ribbon..." was awarded "214th Moksha Infantry Regiment, civilian Kapellmeister Shatrov."
In the winter of 1905, the Moksha Regiment was already in 3rd Manchurian Army, and by order of her commander No. 429 of October 24, 1905 Shatrov again awarded a silver medal "for excellent and diligent service and special works" . In Russia there was "gradual" awards, that is, a strict sequence from the lowest to the highest awards. At the same time, the same award was not presented twice. Orders were awarded only to officials, including officers. Medals were intended for non-officials and lower ranks of the army. Violation fixed with new Order No. 465- about replacement silver medal to the military bandmaster of the 214th Infantry Moksha Regiment Shatrov, who was secondly awarded by her gold medal.
While this red tape lasted, Shatrov received the first rank of collegiate registrar, and now he was entitled to a lower order, not a medal. An order followed No. 544 of January 20, 1906:
“The Kapellmeister of the 214th Moksha Regiment, Ilya Shatrov, in exchange for the bestowed ... gold medal with the inscription “For diligence” to be worn on the chest on the Stanislavsky ribbon ... I award the Order of St. Stanislav 3rd degree with swords for differences against the Japanese at different times.”
By the way, Shatrov's predecessor Vyacheslav Kretovich, who fought in Manchuria as a bandmaster 283rd Bugulma Regiment, also having the rank of collegiate registrar, was awarded the Order of Stanislav 3rd degree with swords with the same wording (11) .
I. A. Shatrov, carried away at one time by a young merchant's daughter Shura Shikhobalova, wrote another popular waltz "Country Dreams" . After her death in 1907 he married the mother of the bride, a widow E. P. Shikhobalova. Then his “swan song” sounded - the last composition "Autumn has come" .
Some authors, referring to the memoirs of Shatrov himself, wrote about a search at his place and some kind of gendarmerie persecution, however I. A. Shatrov was far from revolutionary activity. And here is his sister Anna And brother Fedor were associated with the Voronezh revolutionaries, printed and distributed illegal literature, for which in 1906 were arrested. Uncle Michael heavily paid off in order to "hush up the matter." Ilya Alekseevich, having received a large fee for a waltz "On the hills of Manchuria"
, sent part of the money to his uncle, significantly supporting the family in difficult times. This could draw the attention of the gendarmes to the composer.
In 1918merchant I. A. Shatrov fled from the revolution to Siberia. In Novonikolaevsk (Novosibirsk) he fell seriously ill with typhus, and when he recovered, there were reds in the city. Shatrov was mobilized into the Red Army. In 1938 he was demobilized by age with the rank of quartermaster technician 1st rank (12)
.
Spring 1945 of the year Shatrov again enlisted in the army. But changes were made to his personal file, now stored in the Tambov city military commissariat. Date of birth not specified 1879
, A 1885. In 1952 Shatrov died with the rank of major and was buried in Tambov.
Waltz "Moksha Regiment on the hills of Manchuria" performed by
Central Military Band of the Ministry of Defense of the Russian Federation.
Notes
1
Russian State Military Historical Archive (hereinafter: RGVIA), f. VUA, item 13047, part 2.
2 RGVIA, f.VUA, item 13332, sheet 60.
3 Ibid., f. VUA, item 26470, sheet 38.
4 "Shimosa" - Japanese shrapnel projectile.
5 RGVIA, f.VUA, item 13342; An illustrated chronicle of the Russo-Japanese war. Issue 15. - 1905. - P.41.
6 Ufimskiye Provincial Gazette. - 1905. - No. 90, 120.
7 RGVIA, f.487, item 946, l.120.
8 Ufimskiye Provincial Gazette. - 1906. - No. 115. - June 1.
9 RGVIA, f.2915, op.1, items 9, 81, 165.
10 See: News of the season. - 1911. - No. 2301.
11 RGVIA, f. VUA, items 26470, 27775, 27781.
12 RGVA, f.35550, op.1, items 10, 55.
G. V. Eremin
________________________________________
Immortal melodies. On the hills of Manchuria
In 2014-2015 the 110th anniversary of a historical date has come. The beginning of the Russo-Japanese War of 1904-1905 ... Port Arthur ... "From the fallen strongholds of Port Arthur ...", battles at Wafangou, Liaoyang, Shahe, Sandepu, Mukden ... The famous waltz "On the hills of Manchuria" ... By the way, about him ...
Canonical text "On the Hills of Manchuria"
The moon shone from behind the clouds,
Graves keep peace.
White crosses - the heroes are sleeping.
The shadows of the past are spinning again
They talk about the victims of the battles.
Quietly around, the wind carried away the fog,
And Russians do not hear tears.
Crying, crying mother dear,
Crying young woman
Everyone is crying as one person
Evil fate and cursing fate! ...
Let Gaoliang bring you dreams
Sleep, heroes of the Russian land,
Fatherland native sons.
Believe us, we will avenge you
And we will celebrate a glorious feast.
And the earliest text seems to be this one:
Scary all around
And the wind on the hills is crying
Sometimes the moon comes out from behind the clouds
The graves of soldiers are illuminated.
White crosses
Distant heroes are beautiful.
And the shadows of the past swirl around
They tell us about the sacrifices in vain.
In the midst of daily darkness
Everyday everyday prose,
We still cannot forget the war,
And burning tears flow.
Father is crying
A young wife is crying
All Rus' is crying like one person,
Cursing the evil fate of fate.
So the tears run
Like the waves of a distant sea
And the heart is tormented by longing and sadness
And the abyss of great grief!
Heroes body
They have long since decayed in their graves,
And we did not repay them the last debt
And the eternal memory was not sung.
Peace to your soul!
You died for Rus', for the Motherland.
But still believe we will avenge you
And let's celebrate a bloody feast!
In any case, the earliest recording of the waltz with the singing of the text is dated 10/14/1910 and these words are sung in it.
I.A. Shatrov himself and Stepan Skitalec are also indicated as the author of this text. However, it is known that Shatrov had a negative attitude towards the performance of his waltz with the text, since he believed that these words turn the work into a "requiem in waltz rhythm", and he wrote music about selfless love for the motherland and devotion to it. Therefore, we can assume that Shatrov was not the author of the above text, and was neither earlier nor later noticed writing poetry. As for the Wanderer, here the situation is even more interesting. Most sources indicate that the author of the earliest text is Stepan Petrov (literary pseudonym - Wanderer).
But! Often cited as a creation of the Wanderer is the following text:
Quiet around, the hills are covered with haze,
The moon shone from behind the clouds,
Graves keep peace.
White crosses - the heroes are sleeping.
The shadows of the past are circling for a long time,
They talk about the victims of the battles.
Quietly around, the wind carried away the fog,
On the hills of Manchuria the soldiers sleep
And Russians do not hear tears.
Crying, crying mother dear,
Crying young woman
Everyone is crying as one person
Evil fate and cursing fate! ...
Let the kaoliang bring you dreams
Sleep heroes of the Russian land,
Fatherland native sons.
You fell for Rus', you died for the Motherland,
Believe us, we will avenge you
And let's celebrate a bloody feast.
It was this text that became the most famous among the people. But who is its author? Note that option 1 and option 2 are different poems. Yes, the general emotional background and poetic images used in writing are preserved. And it seems that the meaning of the song has not been changed, but ... the lyrics are different! As if one of them is the result of a poetic translation of the second into another language. It is believed that the author of the early text is the Wanderer, but objectively, the earliest text is the first version, but the text of the Wanderer also indicates the second version. There are also hybrid variants, for example, the first text appears, but with the first couplet stuck to it:
Sleeping kaoliang,
The hills are covered with haze...
On the hills of Manchuria the warriors sleep,
And Russian tears are not heard ...
And the last verse, taken from the second option:
Crying, crying mother dear,
Crying young woman
Everyone is crying as one person
Therefore, we will assume that Stepan Skitalets is the author of the first version, and the second is the result of a late (probably post-revolutionary) processing of the first. In fact, the second version seems to be more perfect from a poetic point of view, it contains a text for the second part of the waltz ("Cries, cries, dear mother ..."). But who is its author? Still the same Wanderer? Or maybe Kozlovsky?
Another interesting recording of the waltz is performed by M. Bragin: a record was recorded at the Sirena Record studio in January 1911. The verses are as follows:
We will never forget this terrible picture
And what Russia was able to survive
Troubles and shame of the year.
In Chinese soil on the far plains of the east
left (?) thousands (?) of our (?) lie (?)
The will of unfortunate (?) fate.
In their hearts now there is hope for a feast
With the knowledge (?) that we are dying for Rus',
For Faith, Tsar and Fatherland
great sorrow
And tears involuntarily run from the eyes
Like the waves of a distant sea
Weeping fathers, mothers, children, widows
And far away in the Manchurian fields
White crosses and tombs
Peace to your soul... ... ...
Take one last farewell
From woeful mournful Russia
Let's return to historical events. 1910-1918, waltz enjoys great popularity. Abroad it is called "Russian national waltz". It is played, sung, recorded on records. By the way, if you listen to some recordings of 10-13 years, then the end of the waltz catches your eye - a funeral march sounds for a long time. It really is a requiem. The author of music saw his work differently, but the artistic vision of the author was sacrificed to social requirements. However, often in this world, art is sacrificed to ideology.
They write that after the revolutions the waltz ceases to sound. But the fact that during the Great Patriotic War (again - a social order?) It is actively executed - this is a well-known fact. It is sung and recorded by Utyosov and Kozlovsky. There are several variants of the Soviet waltz text.
The night has come
Twilight fell on the ground
Desert hills drown in the mist,
A cloud covers the east.
Here, underground
Our heroes sleep
The wind sings a song above them and
The stars are looking down from heaven.
That was not a volley from the fields flew -
It was thunder in the distance. 2 times
And again everything is so calm around,
Everything is silent in the silence of the night.
Sleep, fighters, sleep peacefully,
May you dream of native fields,
Father's distant house.
May you die in battles with enemies,
Your feat to fight calls us,
The banner washed with the blood of the people
We will carry forward.
We will go towards a new life,
Let's throw off the burden of slave shackles.
And the people and the fatherland will not forget
Valor of their sons.
Sleep, fighters, glory to you forever!
Our homeland, our dear land
Do not conquer the enemies!
Night, silence, only the kaoliang makes noise.
Sleep, heroes, the memory of you
But in the performance of A. Kozlovsky, the text is already well known to us. Only the phrase "bloody feast" was replaced by Kozlovsky with "glorious feast", apparently in order to avoid all sorts of rumors about the excessive bloodthirstiness of Russians. The last verse of his song went like this:
You fell for Rus', you died for the Motherland,
Believe us, we will avenge you
And we will celebrate a glorious feast.
So Kozlovsky completely reworked the pre-revolutionary text of the Wanderer, thereby giving a second life to the most popular waltz.
During the Great Patriotic War, the waltz became very relevant. Especially - after the start of active hostilities against Japan. So we again owe the revival of this beautiful melody to the "social order". At the same time, several more text options appeared.
For example, the front-line poet Pavel Shubin:
The fire is fading,
The hills were covered with fog.
Gentle sounds of the old waltz
Gently leads the button accordion.
In tune with the music
Remembered the hero-soldier
Dew, birch, blond braids,
Girly cute look.
Where they are waiting for us today
In the meadow in the evening
With the strictest touch
We danced this waltz.
Timid date nights
Long gone and disappeared into the darkness...
Manchurian hills sleep under the moon
In powder smoke.
We saved
Glory to the native land.
In fierce battles, here in the East,
Hundreds of roads have been passed.
But also in battle
In a distant foreign land,
Remembered in bright sadness
Motherland.
She is far away
From a soldier's light.
Gloomy nights from Manchuria
Clouds drift towards her.
Into the dark space
Past the night lakes
Above the Siberian mountains.
Leaving the gloomy edge,
Let them fly after us in joy
All our brightest thoughts,
Our love and sadness.
There, behind the blue ribbon,
The banner of the motherland is above you.
Sleep, my friend! Silent shots,
Your last fight has died down...
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APPLICATION
Moksha regiment on the hills of Manchuria
On January 19, 1878, during the reform of the Russian army, 44 reserve infantry battalions were formed. In Penza, the 59th reserve infantry battalion (commander Colonel K. M. Akimfov) is being formed on the basis of the cadre of the Ryazan local battalion. In 1891, the battalion received the name Mokshansky (according to the quartering of one of the companies). On December 26, 1899, it was renamed the 214th Infantry Reserve Mokshan Battalion (commander Colonel Nikolai Gavrilovich Pirotsky). The city of Mokshan, founded in 1679, is located 40 versts from Penza. Mokshans had their own traditions, banner, music choir (orchestra). Every year on May 21 they celebrated the holiday of the unit. In 1900, the money allocated for the celebration of this event was transferred by the Mokshans to the creation of a museum and a monument to A.V. Suvorov - just that year marked the 100th anniversary of the death of a brilliant commander. The battalion orchestra (bandmaster V.L. Kretovich) took part in a concert of brass bands from parts of Penza, half of the collection also went to the Suvorov Fund.
On November 26, 1900, on the day of the cavalier holiday of the Order of St. George the Victorious, when parades of troops and Knights of St. George were held throughout the country, a parade was held in Penza with choirs of music with banners raised. The parade was commanded by a new, fourth commander of the Moksha battalion, Colonel Pavel Petrovich Pobyvanets, a participant in the Russian-Turkish war, who was awarded military orders and golden weapons for his distinction in battles in Transcaucasia.
At the beginning of the 20th century, the situation in the Far East escalated. Ahead was the Russo-Japanese War. On November 24, 1901, the Mokshansky battalion left the Finogeevsky barracks in Penza forever and relocated to Zlatoust. On February 1, 1902, the commander of the 54th reserve brigade, Colonel Semenenko, informed the commander of the 214th Moksha battalion Pobyvanets about the proposed reorganization of the battalion into a two-battalion regiment.
At that time, the workers of the Zlatoust plant opposed the administration. They came to the plant management, demanded better working conditions and the release of those arrested. March 13, 1903 by order of the Ufa governor. N.M. Bogdanovich, two companies of Mokshans called in opened fire on a crowd of workers. 45 people were killed, about 100 were injured. The echo of the "Zlatoust massacre" swept through the country. On the verdict of the militant organization of the Socialist Revolutionary Party, the worker Yegor Dulebov on May 6, 1903, killed Governor Bogdanovich.
In the spring of 1903, two more companies were added to six companies so that the battalion could be converted into a two-battalion regiment, and a separate unit of the Mokshansky battalion in Yekaterinburg (5-8th company) was formed under the command of Lieutenant Colonel Alexei Petrovich Semenov.
The Russo-Japanese War began. On May 27, 1904, martial law was declared and "reinforced" reserve units in the Kazan, Moscow and Kiev military districts were declared. On June 8, the Mokshansky reserve battalion deployed into two field infantry regiments: the 214th Mokshansky in Zlatoust and the 282nd Chernoyarsky in Yekaterinburg (from a separate unit of the 214th battalion). The Moksha regiment included: 6 staff officers, 43 chief officers, 391 non-commissioned officers, 3463 privates, 11 horse orderlies and 61 musicians.
On June 30, Emperor Nicholas II arrived at the front in Zlatoust for a solemn farewell to the soldiers. Many Moksha residents received memorable gifts. Colonel Pobyvanets was presented with an excellent combat saber. The regiment set out from the city in six echelons and arrived in Mukden on July 31, and on August 14 took up positions on the left flank of the Russian army near Liaoyang on the Dalin Pass, which was successfully defended throughout the Liaoyang battles.
On September 26, the Mokshans took part in the attack on Bensikha, but they especially distinguished themselves in the battles near Mukden, where for more than 10 days, stubbornly defending and furiously counterattacking, the regiment held positions near the railway, preventing the Japanese from encircling the Russian army. The heavily shell-shocked colonel remained in the ranks and in the most difficult moments commanded: “Banner forward! Orchestra forward! To the sounds of an orchestra with a thunderous "Hurrah!" Mokshans rushed after the 56-year-old commander to the bayonet and repelled enemy attacks. Orchestras in the Russian army have long been an invariable part of its organizational structure, creating the necessary psychological attitude in battles, campaigns, and parades. A.V. Suvorov claimed that "music doubles, triples the army."
On February 27, 1905, near Mukden, the regiment covered the retreat of artillery and the last convoys of the 22nd division, then left the old positions itself. During the retreat, Colonel Pobyvanets was seriously wounded in the right thigh. He ordered the soldiers who rushed towards him: “First, pick up the wounded soldiers ...” He was carried out last. At the dressing station, straining his last strength, the commander asked to bring the banner of the regiment. He died in an ambulance train near Gunzhulin station. On May 25, 1905, Chrysostom, with military honors, saw off the hero Pavel Petrovich Pobyvanets on his last journey.
The war ended, there were barely 700 Mokshans left. Chernoyarsk citizens were again attached to them. In January 1906, the first spares were sent home. The Moksha regiment returned to Zlatoust on May 8, 1906. For heroism in battles, the Moksha warriors were presented with awards and distinctions: breastplates for officers, hats for lower ranks with the inscription “For distinction in the Russian-Japanese war of 1904-1905.
On May 21, on the day of the traditional regimental holiday of the Moksha people, the Zlatoust people watched with interest the vivid picture of the parade of the famous regiment, marching under the banners of the Moksha and Chernoyarsk regiments under punched bullets and shrapnel. The skill of the regimental band was highly appreciated. The orchestra members always went to the enemy together with the soldiers, inspired the soldiers with their skill and courage. Even when the orchestra was not allowed to participate in the battles, they often voluntarily rushed into the thick of the battle, assisted the wounded, taking them out from under the fire. Covered with military glory, military bands in peacetime played in city gardens, at festivities and were indispensable propagandists of the best musical works in the most remote places of the country. And the military conductors themselves often composed beautiful melodies that are still popular today. Such are the marches of S. Chernetsky, “Farewell of the Slav” by V. Agapkin, the waltz “Amur Waves” by M. Kyus and others.
With the outbreak of World War II in 1914, the regiment was re-formed. On July 17, in the Admiralteyskaya Sloboda near Kazan, the banner of the 214th Mokshansky was handed over to the 306th Moksha Infantry Regiment. Mokshans (as part of the 77th Infantry Division) participated in the Warsaw-Ivangorod operation of 1914, in the battles in the Vladimir-Volyn direction in 1916, on the Styr River, near the Kovno fortress. Everywhere they were faithful to their duty to the end. In March 1918, the regiment was disbanded.
But it was not the “Zlatoust massacre” and not even military exploits that brought loud glory to the Moksha regiment, but composed in 1906 by the bandmaster of the regiment I.A. Shatrov waltz "Moksha Regiment on the hills of Manchuria". In the post-war years, a lot was written about this in our press (about a hundred publications are known, unfortunately, for the most part they are poor in true facts and often abound in conjectures).
From birth, the waltz was accompanied by unprecedented success. In 1907, notes began to be published, and since 1910, gramophone records with waltz recordings performed mainly by military bands began to appear. Then the singers also began to sing it - to the music they began to compose various versions of the text to the taste of the performers.
The long name of the waltz did not fit into one line on the record label, and it was "cut down". Thus, the name of the legendary regiment, to which the waltz was dedicated, disappeared from the name. The authors of the texts also helped to forget him, often unaware of the existence of the Moksha Regiment. The popularity of the waltz "On the Hills of Manchuria" is evidenced by the following facts. By 1911 O.F. Knaub (Shatrov granted him a monopoly right) reissued the notes 82 times, and the Zonofon firm sold 15,000 records in the first half of December 1910 alone.
With the establishment of Soviet power, the waltz began to be interpreted as a symbol of tsarism, the White Guard and was practically not performed. In 1943, the jazz orchestra (then the State Jazz of the RSFSR) under the direction of L.O. Utesova used the motif "Hills" in a patriotic potpourri. In 1945, on the eve of the war with Japan, the waltz was sung by J.S. Kozlovsky.
The author of the famous waltz Ilya Alekseevich Shatrov (1879-1952) was born into a poor merchant family in Zemlyansk, Voronezh province. Orphaned at an early age, Ilyusha was brought up by his uncle Mikhail Mikhailovich, who, being himself musically gifted, taught the basics of music to his nephew. By the way, his daughter Elena Mikhailovna Shatrova-Fafinova subsequently sang on the stage of the Bolshoi Theater in Moscow.
After graduating from the district school, Ilya enters the trumpet platoon of the Life Guards of the Grodno Hussars in Warsaw. In 1900, he graduated from the bandmaster's course at the Warsaw Musical Institute, then lived in his native Zemlyansk for several months without work. Apparently, but without the assistance of his former regimental commander, General O. Ya. Zander, who became the chief of staff of the Kazan Military District in 1902, in March 1903 Shatrov received the post of civilian Kapellmeister of the Moksha Regiment in Zlatoust. With this regiment, he went all the way to the first disbandment of the regiment in 1910.
In 1904, the Moksha Regiment was part of the 1st Manchurian Army. By order of its commander No. 273 dated April 2, 1905, "for excellent and diligent service in a military situation ... a silver medal with the inscription "For Diligence" to be worn on the chest on the Annenskaya Ribbon ..." was awarded the "214th Moksha Infantry Regiment civilian Kapellmeister Shatrov.
In the winter of 1905, the Moksha Regiment was already part of the 3rd Manchurian Army, and by order of its commander No. 429 dated October 24, 1905, Shatrov was again awarded a silver medal "for excellent, diligent service and special labors." In Russia, there was a "gradual" award, that is, a strict sequence from the lowest to the highest awards. At the same time, the same award was not presented twice. Orders were awarded only to officials, including officers. Medals were intended for non-officials and lower ranks of the army. The violation was eliminated by a new order No. 465 - to replace the silver medal to the military bandmaster of the 214th Moksha Infantry Regiment Shatrov, who was awarded it for the second time, with a gold medal.
While this red tape lasted, Shatrov received the first rank of collegiate registrar, and now he was entitled to a lower order, not a medal. Order No. 544 dated January 20, 1906 followed: “Kapellmeister of the 214th Moksha Regiment Ilya Shatrov, in exchange for the bestowed ... gold medal with the inscription "For Diligence" to be worn on the chest on the Stanislavsky ribbon ... I award the Order of the Holy Stanislav 3rd degree with swords. By the way, Vyacheslav Kretovich, Shatrov's predecessor, who fought in Manchuria as bandmaster of the 283rd Bugulma regiment, also having the rank of collegiate registrar, was awarded the Order of Stanislav 3rd degree with swords with the same wording.
I.A. Shatrov, who at one time was carried away by the young merchant's daughter Alexandra Shikhobalova, wrote another popular waltz, Country Dreams. After her death in 1907, his “swan song” sounded - his last composition “Autumn has come”.
Some authors, referring to the memoirs of Shatrov himself, wrote about a search at his place and some kind of gendarmerie persecution, however, I.A. Shatrov was far from revolutionary activity. But his sister Anna and brother Fyodor were associated with the Voronezh revolutionaries, printed and distributed illegal literature, for which they were arrested in 1906. Uncle Mikhail paid off intensively in order to "hush up the matter." Ilya Alekseevich, having received a large fee for the waltz "On the Hills of Manchuria", sent part of the money to his uncle, significantly supporting the family in difficult times. This could draw the attention of the gendarmes to the composer.
In 1918 I.A. Shatrov fled from the revolution to Siberia. In Novonikolaevsk (Novosibirsk) he became seriously ill with typhus, and when he recovered, Shatrov was mobilized into the Red Army. In 1938, he was demobilized due to age with the rank of quartermaster technician of the 1st rank.
In the spring of 1945, Shatrov was again enlisted in the army. But changes were made to his personal file, now stored in the Tambov city military commissariat. The date of birth is not 1879, but 1885. In 1952, Shatrov died with the rank of major and was buried in Tambov.
