Grigory Kalyuzhny. Vorobiev Vyacheslav

1.Tell me what was the reason for your entry into literature? What were your first experiences?

I can’t answer this question unequivocally, but I think that people come to literature not for some reason or even just by vocation, but according to the law of unpredictability of fate, when everything necessary for this develops in the most inevitable way. In my case, there were no thoughts about the literary field until the end of high school, although from childhood I knew many poems by heart and even tried to compose something from time to time, but this was the merit of my mother, who was trying to invest in me the golden reserve of Russian classics. As far as I can remember, I wanted to be a military pilot. However, due to the prevailing circumstances, I became a civilian - and not a pilot, as I dreamed, but a navigator, thanks to which I very soon found myself in the world of big aviation. From 1969 to 1979 I flew a Tu-104 in Leningrad, where an event took place that turned me onto a literary path. It all started with the fact that a major writer, as they said then - a “villageist”, Fyodor Aleksandrovich Abramov (1920-1983), speaking to young writers, called on me to count from the airplane cockpit, “how many villages and hamlets have already gone into oblivion and how many of them still remains in Russia.” I involuntarily, out of simple curiosity, began to pay attention to the presence of rural settlements recorded on flight maps of various scales, issued no later than 1947. My observations, combined with interviews with small aircraft pilots, turned out to be stunning. In the words of one helicopter pilot, villages disappeared from the face of the earth every year, not in tens, not in hundreds, but in thousands?! By the way, to be convincing, this helicopter pilot advised me, on occasion, to visit the “kingdom of dead villages and hamlets” located along the Volga River, which, according to him, were systematically burned and then plowed under. But there was no particular need for such a visit, since many residents of Leningrad were yesterday’s or current limiters, that is, natives of villages and hamlets, including those in the Volga region. So I received diverse evidence about the rapid decline of the rural world of Russia using the same survey method, as they say, first-hand. Moreover, neither newspapers, nor magazines, nor television covered this topic in any way, as if it was not about the main source of replenishing the population of a huge country, but about some kind of abandoned orphan material that had long been used up. Moreover, it turned out that nothing significant could be published on this topic. Why? Responsible people edifyingly explained: “Because in the era of the scientific and technological revolution, the reduction of peasant space is a natural, worldwide process and, therefore, normal.” In this case, I fell into the category of abnormal people, because I caused panic, etc. In this situation, I could well have been written off from the plane to the ground with a known diagnosis. In order to protect myself from such a prospect, I, firstly, applied to join the Writers' Union, where I was not accepted with 6 votes for and 5 against; secondly, he began individual education of those writers who could be trusted. So, in 1975 or 1976, I don’t remember exactly, I told Viktor Petrovich Astafiev that from 20 to 40 villages and hamlets are packed into urban high-rise buildings, where the traditional large number of children of their inhabitants is categorically impossible, because of which our country is doomed to depopulation in the very near future. Of course, I expected from Astafiev an extensive and passionate article on this topic, and not just anywhere, but in the central press. After all, we were talking about the very existence of Russian civilization, which arose from the rural world and was entirely dependent on it. We had to wait a long time. On May 30, 1988, Viktor Petrovich gave me his book “The Fall of a Leaf” with the following inscription: “To Grisha Kalyuzhny - to a pilot from an infantryman-artilleryman who survived the war by God’s grace.” In the story “Window” from this book, I found echoes of our old conversation. In particular, in the description of the night of a big city, where there are the following lines: “A working man who has driven himself into concrete hives sleeps, five or six villages sleep in one multi-entrance house, a volost or a whole region sleeps in one crowded microdistrict, and only dreams unite people with the past world: horses in a meadow, yellow banks of hay among green rows of swaths, a birch tree in a field, a barefoot boy splashing in a warm river...” This short story, just a page and a quarter long, is impeccable from an artistic point of view, however, caused a feeling of hopeless sadness and even despondency. And how could it be otherwise, if a working person, it turns out, has driven himself into concrete hives, from which there is no way out for him?!

However, let's return to the topic of the question. In the fall of 1979, I began flying abroad, where, as it turned out, rural settlements, despite global technological progress, did not disappear. It was then that the understanding came that the reason for their rapid curtailment in our country lay not in his sphere, but in something else, fundamentally hostile to it. From then on, I began to realize that I was almost the only bearer of this understanding, since I had not encountered its actual expression at any publicly accessible levels. It was necessary to ring the bells. Thus began my first attempt to infiltrate the Moscow literary community in order to convey to it from the inside information about the impending demographic catastrophe due to the collapse of the peasant Atlantis. However, my trips to the Writers' Union, as well as to all the leading magazines of that period, including Yunost, ultimately ended with the following poem:

I hurried to you, inspired by hope,

Searching for the depths of living poetry.

And so, past the thunderstorms, red-hot,

I stand in a welcome circle like a stranger.

Welcome, brothers! In the cold of discord

I myself don’t believe that we are related.

I would like to lift you into the sky, shake you properly,

How they once shook me in it.

Just yesterday I dreamed of the spirit of brotherhood

Invincible holy power.

A hundred times poorer than a beggar in the moonlight,

Who will come to you with an open soul.

But there is brotherhood. I know another world

Where barren inflorescences do not grow.

I was born there, behind my back

Thousands of years stand wing to wing.

The path is not terrible for those born on the road.

And what is leisure for those who know no leisure?

I'm calm, I have somewhere to go,

And you torment each other with envy...

Having written this poem, I breathed a sigh of relief: who could now blame me for inaction?! So the commander, by the way, said, although on a different occasion, that he felt completely safe only in the cockpit, because on the ground no one was responsible for anything. For some time I flew easily and joyfully. Everyone around, both in the flight squad and in the crew, heard and understood each other even in extreme cases, which, of course, was enough in our business. But gradually the acute feeling of a national catastrophe began to return to me, especially after visiting the settlements of Western Europe flooded with night lights, when we entered the space of our native Fatherland, like into a black hole of enormous size. In my profession, such sensations were very undesirable. And I decided, at least for a while, as I thought then, to leave aviation and not at once, but having sorted everything out, to bring the matter of notifying the widest public about the developing tragedy to the end. Finding myself free, I soon realized why my short but flashy articles were not published. The reason was that, at their core, they were directed against the state program for curtailing supposedly unpromising villages and hamlets, launched back in 1959 by N. S. Khrushchev. In pursuance of this, in the Non-Black Earth center of Russia alone, 114 thousand rural-type settlements were subject to reduction! According to strict but unspoken orders “from above”, this procedure of depopulation of the country, since its population was mainly growing due to the birth rate in rural areas, was to be interpreted as a positive measure. That’s why the editorial staff either shunned me or tried to kick me somewhere.

Nevertheless, the non-party poet, front-line soldier and editor of the almanac “Poetry” Nikolai Konstantinovich Starshinov, on the contrary, himself called me into the ranks of his entourage and, together with his deputy Gennady Nikolaevich Krasnikov, began to publish my poems. In 1985, I was accepted into the USSR Writers' Union, but this did not help me to be heard. Once, at a large writers’ meeting held at the Central House of Writers (CDL), having arbitrarily taken possession of the microphone, I tried to urge my colleagues to leave all their differences and act together to defend villages. However, due to almost universal demand from the audience, I was not allowed to finish speaking and was literally pushed off the stage. I then sat down in my seat, humiliated, disgraced and at the same time shocked, because I did not understand for whom these unfortunate masters of words write their books if in the near future there will be no one to read them? And suddenly a slender, gray-haired man quickly rose onto the stage. Well, I think now he’ll add some more. And he, gloomily looking around the hall, said the following: “I am a front-line soldier, the only one who survived from an airborne company in a battle near a tiny village... On behalf of the front-line soldiers, I ask my fellow pilot for forgiveness for everything that happened here now, and I also refuse from electing me as a member of the secretariat...” It was the poet Alexander Ivanovich Balin. Then I decided not to give up and push through my plan of encyclopedic descriptions of rural settlements by region and district of the country. So I became a hostage to this idea until today, although initially I intended to write about the pilots who taught me to behave in creativity and, in particular, in poetry, as on an airplane. Naturally, my first serious poems, so to speak, were about them. Before that, I was fond of metaphors, but, realizing that we live in an emergency reality, I began to write in plain text. The content, as a rule, was dictated by life itself, so I have unforeseen plots, but none divorced from it.

2.Who can you call your literary teachers?

The first poet who made the strongest impression on me, and above all with the poem “Demons,” was Pushkin, the second was Yesenin. Subsequently, my development was influenced by the Russian philosopher A.F. Losev and, thanks to him, by Plato, from whom I read that ignorance is non-existence. Among those who deepened my understanding of Russia were poets F. I. Tyutchev, A. A. Blok, N. M. Rubtsov, writer F. A. Abramov, literary historian B. I. Bursov. I am also grateful to Russian folk songs for the science of expressing what I have experienced.

3.What genres have you tried yourself in?

I have never tried my hand at genres. They themselves seemed to arise from the necessity and essence of the presentation. Among my publications, in addition to poetry, there are biographical prose, essays, criticism, journalism, local history articles, and documentaries. Moreover, what was written in one genre was sometimes unexpectedly canceled by another. This happened with articles that no one wanted or could publish. I got so angry that at some critical moment they melted into a poem: “Thoughts about the saving legacy, Looking greedily at the new day, I see the latest volume of the encyclopedia of Fading Russian villages. The people’s genius will be reflected in it, To marry the roots with the crown - The fruit of the efforts of many generations, Our work to begin on time,” etc. This poem was immediately published in the anthology “Poetry”, and then in the magazine “Student Meridian”, although the poignancy its content was in no way inferior to the content of unpublished articles.

4. How would you describe the area of your literary interests?

In short, the scope of my literary interests lies in resistance to both external and internal challenges not only to Russia, but to the whole world. Hence: “The Earth is a ship that awaits a storm, and only the feeling of the crew will save it from destruction.”

I don’t want to talk casually about removing this or that name from the school curriculum. But the study of the work of M.V. Lomonosov, from which all our literature came, including A.S. Pushkin and N.V. Gogol, along with his “Overcoat,” in my opinion, needs to be deepened and expanded in it. I provide evidence of this in the article “Lomonosov’s Testament”, published in the journal. “Our Contemporary” No. 12, 2011 I think that in school it is necessary to study O.V. Volkov’s book “Plunge into Darkness” as the last classic example of Russian noble literature, especially since it provides answers to the most pressing questions posed back in XIX century.

6. Is there a writer whose work your attitude has changed dramatically over the years?

I can’t remember a writer to whose work my attitude has changed to the opposite. Since school I loved L.N. Tolstoy, and now I love him even more, although I feel annoyed in the sense that after “War and Peace” he could not give what he gave in the novels “Anna Karenina” and “Resurrection”. Still, ahead was the universal calvary of Russia.

7.What are your preferences in cinema, music, painting?

I have no preferences in arts other than literature. I accept cinema, music, painting, and sculpture, if they are the fruit of the author’s love and humanity.

8. Do you consider literature a hobby or your life’s work?

I believe that there is no experimental art, especially in literature, because love is beyond the reach of experimentation. For the same reason, literature, and any other art, can be considered as a hobby only in a society of weak-minded people.

9.What do you consider an indispensable condition for true creativity?

I believe that an indispensable condition for true creativity is inclusion in reality, coupled with an unclouded sense of spiritual navigation. Artistic creativity, no matter what areas it concerns, is still the realm of the ideal. A work without an ideal is like the earthly world without light.

10. Tell the readers of Parus some episode of your creative biography that can be called significant or that no one knows about.

I have already named a whole chain of significant episodes from my life that led me to the point where I felt like a navigator on the plane of reality. This is also an important episode. However, I believe that there are no insignificant episodes in human existence. We just don’t notice it or don’t want to notice it.

11. How do you see the ideal literary critic?

The ideal critic can only be within the poet or writer himself. Remember, in Pushkin’s poem “To the Poet”: “You yourself are your own highest court; You know how to evaluate your work more strictly than anyone else...” Such were F.I. Tyutchev, A.A. Blok, and S.A. Yesenin. I appreciate merciless but reasoned analytical criticism, which, however, I have not encountered on my journey, except for a few very brief comments from my commander on the Tu-104, Igor Dmitrievich Gorshkov. After reading A. Voznesensky’s book “Achilles’ Heart,” he asked me: “Well, what do you like about it?” “The fact that there is a lot of new things in it.” The answer was sobering. He said: “Gregory! If something completely new enters your cabin, it will be death itself!”

12. How do you see the future of Russian literature?

I think that Russian literature, despite the abundance of false beacons in it, will remain Russian and will acquire a new quality in the sense of purity of expression on the path to mutual exactingness, without which we have no future.

I wish young philology students, first of all, mental and physical health, as well as true love for their subject, since without philology not a single science, not a single soul can exist, and there is nothing to say about poetry.

14.What are your wishes to the readers of Parus?

I wish the readers of “Sails” to continue to remain so, even if he is rebellious and asks for storms.

The dream is to have a “business card” on the Internet for every Russian village, a hotbed of Russian spirituality and simply Russianness. My native villages are Tyurbenevo and Medovartsevo in the Vachsky district of the Nizhny Novgorod region. Relatively close are the neighboring villages of Veldemanovo and Grigorovo, in which Patriarch Nikon and his opponent Archpriest Avvakum were born. And a little further away is Diveevo. In short - a hotbed of passionarity...

The work of Count Pyotr Petrovich Semenov-Tyan-Shansky (before 1906 - Semenov) (2.01.1827- 26.02.1914) “Russia: A Complete Geographical Description of Our Fatherland” (1899-1913) / together with V.I. is magnificent and unsurpassed. Lamansky/. It should be republished with comments and additions. And in any case, post it on the Internet. When I have time, I’ll scan it for my Panlog. And there are informative “paper” publications about our modern villages. I have already talked about the book “Bykovo”, in which I and my friends talk about the glorious village of Bykovo near Moscow (Ramensky district). Thank God, there are more grandiose projects, and also related to our fabulous Moscow region. Thus, Anna Chepurnova in the article “Rural world... on the pages of the encyclopedia” (http://www.stm.ru/archive/04-09/statya.php?n=13) talks about the project “Encyclopedia of Russian villages” associated with names of Grigory Kalyuzhny, Vladimir Lipatov, Alexander Nikonov and other glorious defenders of our pristine nature.

Have you ever admired the sea of lights spread out below from an airplane window at night? - asks Anna Chepurnova. - An unforgettable sight! When you fly abroad, this radiance accompanies you everywhere. And how boring and lonely you feel when in the vast expanses of Russia there is often only a dark abyss beneath you. What is this, is it really undeveloped land? No, the answer is terrible: the kingdom of extinct villages.

Where did they go? Is scientific and technological progress really to blame for everything? Already in the 1970s, these questions worried the poet Grigory Kalyuzhny, who was a Civil Aviation pilot at that time.

One day, the writer Fyodor Aleksandrovich Abramov asked him to count from above how many villages were dying in Russia. Comparing the presence of settlements with the flight map of 1947, the young navigator came to the stunning conclusion that they die every year not in tens, not in hundreds, but in thousands?! Officially, this catastrophe was called a natural worldwide process aimed at the happy blurring of the lines between city and village. But why in Europe, where he flew, not a single rural settlement (lo and behold!) has disappeared anywhere since the beginning of the twentieth century, as if progress had bypassed its blessed borders? Later, this emotional drama of the pilot and poet found its expression in the poem:

Hostage of heavenly wanderings,
Comparing your path under the wing,
I saw that there were no edges
Between city and village,

But the abyss gaped between them.
And into the soul of doubt the snake
She crawled with cold horror,
That the Motherland is mine.

The poet tried to talk about what he saw from above in his articles, but no one published them. Moreover, it turned out that there are no specific publications on the issue of mass disappearance of villages and hamlets. While the technical description of the aircraft, including the history of its operation, amounted to many volumes, villages after the 1917 revolution did not have their own systematic description and died silently before everyone’s eyes. Thus, in the cockpit of an airplane, the idea of creating a multi-volume encyclopedic description of rural settlements was born. It also took shape poetically:

Thoughts about the saving heritage,
Looking greedily into a new day
I see a new volume of the encyclopedia
Leaving Russian villages.

This poem was published in its entirety in the Student Meridian magazine. It ended with the same lines, but with the words “revived Russian villages” - this is exactly what Kalyuzhny dreamed of. By the way, this magazine was one of the first to support the poet, who was thinking about the revival of the rural world. Since 1988, Kalyuzhny led a column in the Student Meridian, which was first called “Encyclopedia of Fading Russian Villages.” True, quite quickly the editors began to receive indignant letters saying that villages were dying not only in Russia itself, but throughout the USSR, and in the title of the column they put the word “Russian” instead of “Russian”.

It should be noted that one of the main reasons for the tragedy was the so-called concept of “unpromising” villages and villages, which was embodied in government practice with the blessing of N. S. Khrushchev since 1958. He came up with the idea of settling peasants in agricultural cities and turning them into rural landless proletarians back in 1951, but Stalin sharply condemned him and forced him to admit the fallacy of such a position. However, having come to power, Khrushchev actively set about realizing his dream. Its essence boiled down to the raking of individual villages and villages into large agricultural cities, which led to the desolation of arable land, the outflow of the rural population to cities, a sharp drop in the birth rate, etc. Suffice it to say that from 1959 to 1989 the number of rural settlements in Russia decreased from 294,059 to 152,922, that is, over 30 years, twice as many of them died as during the years of fascist occupation. Thus, in the Serebryano-Prudsky district of the Moscow region, according to such a policy, only eleven villages should have remained. And today there are more than 200 of them! And each one is unique, original, unique from the point of view of economic resources.

The impressions of the destruction of the original rural world taking place before our eyes deeply resonated in the work of the poet Grigory Kalyuzhny. In the peasant space, he saw a source of strength and inspiration for modern man, oppressed by a depersonalizing civilization. The return of man to his earthly origins, the spiritual connection with the world and the faith of his ancestors, the liberation of ideas about the village from everything superficial and false - these ideas prompted Kalyuzhny 15 years ago to initiate the creation of the cultural and educational society “Encyclopedia of Russian Villages”. Together with the academician and president of the All-Russian Academy of Agricultural Sciences Alexander Alexandrovich Nikonov, the poet became the co-chairman of this society, and later created the publishing house “Encyclopedia of Villages and Villages”, the purpose of which was a comprehensive description of rural settlements from ancient times to the present day.

It must be said that the concept of “encyclopedia” has been leveled in our time. They call everything by this word now, including a collection of articles on the same topic. Meanwhile, “encyclopedia” means a complete (!) range of knowledge on a certain subject or industry. This is precisely the goal pursued by the Kalyuzhny publishing house.

In the series “Encyclopedia of Villages and Villages of the Moscow Region”, the publishing house has published more than a dozen voluminous volumes dedicated to individual districts of the Moscow region - Ramensky, Kashirskoye, Yegoryevsky, Serebryano-Prudsky, Istrinsky. These books are the first to collect and summarize extensive documentary and factual material about the historical, socio-economic and cultural development of the districts of the Moscow region. They also contain historical descriptions of all villages, including those that no longer exist, based on careful archival research. The authors of the books are most often local local historians, who have devoted many years to collecting materials about their native land. But without the scientific and methodological support provided by the publishing house, the creation of a voluminous volume that meets the requirements of the encyclopedia genre, that is, a full range of knowledge about the subject, would be beyond the power of local historians. The publishing house undertakes assistance in collecting archival materials and printed sources, shares with the authors an extensive bibliography on the subject, conducts on-site surveys, systematizes the accumulated material, and thoroughly checks it.

Residents of villages are given back their history, which they often do not know; they simply have no idea of the level of culture that existed in rural areas before the revolution. For example, almost none of the local residents now remember that in the village of Krasnovidovo there was a store that was not inferior in beauty to Eliseevsky. In another village, it was believed that the local school was formed in the 20-30s of the 20th century, but in fact it existed from the first half of the 19th century - first in the priest’s house, then a separate building was built for it by the zemstvo.

A large place in the volumes of the encyclopedia is devoted to the spiritual life of the village, to the description of temples - all references are given to the construction and reconstruction of temples, to the builders of the temples, and to the priests who served at different times. New information is often discovered even about major hierarchs of the Church. Thus, it turned out that the ancestors of Metropolitan Philaret (Drozdov) of Moscow came from the village of Kormovoy, now part of the Serebryano-Prudsky district. This work did not go unnoticed. Grigory Kalyuzhny was awarded a Certificate of Honor by Metropolitan of Krutitsky and Kolomna Juvenaly.

A special role is given to genealogy, pedigrees, and the history of noble and peasant families. Noble genealogies are a common thing, but it turns out that using the surviving revision tales and church metrics, one can compile a pedigree for almost any peasant.

At one time, Nikolai Vasilyevich Gogol exclaimed with bitterness: “The ignorance of Russia is great - in the middle of Russia!” In a letter to Alexander Petrovich Tolstoy, he advised: “To find out what Russia is today, you must invariably travel through it yourself.” Following the advice of the classic, the publishing house is not satisfied only with collecting archival and printed sources; it organizes expeditions to the region that is the subject of the description. Director Grigory Kalyuzhny walked around many villages and villages in the Moscow region, took many photographs depicting churches, buildings, houses and the faces of the local villagers. In one village in the Serebryano-Prudsky district, he recorded a wonderful local song, which was then included in the book. Seeing his spiritual interest, the old people in the villages willingly gave him family photographs, including ancient ones from the 19th century. After the publication of the volume, the photographs were transferred to the Serebryanoprudsky Museum. And while working on the book “Istra Land” and traveling to the New Jerusalem Monastery, Kalyuzhny came up with a poem:

I go around the Istra villages,
It's like my family is everywhere here
On the bones of a hundred years of schism,
Forgetting about strife, it awaits me.

The traveler is greeted by the spring wind
At the high walls of the monastery,
I didn’t come here alone, I’m not from here,
On the rays of the Holy Altar.

The sovereigns came to him with bows,
A monk walked and a bishop walked,
All those who compassionately walked with faith
The difficult fate of people.

He gives healing to the sick,
Calls sinners to repentance.
In it Christ gives inspiration
And the immortal soul sings...

In line with the activities of the publishing house, striving to collect the Fatherland and the people who glorified it, Kalyuzhny, by order of the Russian Society of Foresters, wrote on the basis of unique documents and published a scientific biography of the largest scientific forester, the founder of forest science, Georgy Fedorovich Morozov, entitled “The Life of G. F. Morozov "(2004), which became a real event.

The preparation of the books “Encyclopedia of Villages and Villages” is carried out in close cooperation with the Administrations of the districts of the Moscow region, which finance these publications. Despite the limited funds, the heads of districts understand the importance of creating an encyclopedia that expands and deepens the historical and spiritual space of their region, restoring the connection of times interrupted in the 20th century. District leaders actively help in collecting materials about the current state of the region; through their efforts, questionnaires developed by the publishing house are distributed, thanks to them, official statistics and modern data in the field of production, healthcare, culture and sports are used in the Encyclopedia publications. This is truly a managerial approach to business, because in order to competently and fruitfully manage the region, you need to know it thoroughly. In the second half of the 19th century, reports on the activities of zemstvo institutions were published annually in each county, lists of county officials and figures of all ranks were printed, and the memory of good deeds and undertakings was imprinted. Nowadays, it is customary to scold officials and accuse them of doing something illegal. The “Encyclopedia of Villages and Villages” in its publications strives to give a true image of a modern district leader who lives in the interests of his region.

With each new book, the publishing house accumulates invaluable experience and creates a unique database of descriptions of rural settlements. Three books were published in 2004. All books are equipped with serious scientific reference equipment and indexes. The most extensive - “Istra Land” - has 848 large-format pages, more than three hundred black-and-white and color illustrations. But the publishing house cannot use its creative and scientific potential to its full potential due to lack of funds. Publications of this kind are very knowledge-intensive, and the funds that the regions selflessly seek for them are clearly insufficient; Publishers have to do a lot of things using their own enthusiasm. The publishing house needs partners who know how to value information and understand that love for the Fatherland requires sacrifices in our time, not only from a handful of people who are passionate about an unprofitable, but very important business - extracting bit by bit from oblivion and oblivion that which unites both the rich and the poor - ours general history.

The ascetic works of Grigory Kalyuzhny, Oleg Platonov and a few other Russian righteous people need to be translated onto the Internet, as well as a number of local history studies of the past and present, including the classic books of Pyotr Petrovich Semenov-Tyan-Shansky. And samples of “business cards” of Russian villages are already being successfully developed. An example is the website www.ozerki08.ru about the village of Ozerki, Miloslavsky district, Ryazan region, created by twenty-five-year-old computer scientist and lover of village life Ilya Brodsky. And in the Panlog information retrieval system, a standard page ("business card") of any village has been created, which every village resident and especially village schoolchild with access to the Internet could fill out about their "small homeland". The prospects are grandiose - if only there were people.

Again they didn’t recognize me here,

They recognized neither friend nor brother.

I walked, keeping the direction,

All possible return points.

I don’t know my fault

And I don’t expect any love or greetings.

Sometimes we are not free to choose,

Forgive me, dear, and this too.

I lost the advice of others,

Those who squandered their whole lives while they were laid up.

I don’t care that there are no spare ones -

Will accept the Russian field.

***

They don't buy anything here

And they don't sell anything...

N. Starshinov

Perhaps I am the hundred and first poet...

Still, not without the Creator’s humor

A nasty custom has entered our age

Finally, count from the end.

Destiny is born in initiative.

My friends kept telling me: “Hold on!

Well, for what reason?

Have we been waiting for your poems?

And so I decided in honor of the commanders

I will conquer Moscow Parnassus.

Farewell, Volodenka Barilov,

Farewell, Ryazanov and Strelkovsky.

Not for commercial arshins

I left you for now -

In the hope that the poet Starshinov

He will also notice me from the mountain.

And he will say: “He’s walking out of order.

And he takes on a lot,

But he doesn't buy anything

And he doesn’t sell anything...”

In the darkness of a cosmic tragedy

R long ago meeting night and day,

The Encyclopedia star is burning

Russian villages and hamlets.

In its rays the earth rotates.

And whoever screamed has now disappeared,

Like, where does the peasant world end?

That's where progress begins.

I swear by the lost river,

Whose blue the frogs mourned,

What a terrible thing is the gloomy peace

Empty villages forever.

Why did they leave her?

Where did they go and what will happen to her?

The past stretches across the rooftops,

And wild decay wanders around the huts.

Where did those find happiness?

Who was born here in freedom,

Who was in spiritual simplicity

Since ancient times, dear to living nature?

Calculation will not explain everything -

It is not easy to leave this region.

Leads to an abandoned village

The path from the ancient churchyard...

But a shadow flashes or some guest -

Already invigorated and sighing

Garden over the lost river.

And suddenly the gate bursts into tears...

The color of the nation is sprayed,

The cup of death is walking around in circles.

In the glare of elections, there is no choice.

Let it sweep and sweep until dark

And it will be revealed to us unchanged

IN surrounded by the starry Moon,

Like a legitimate Parliament

Universe.

I believe that he was resurrected

King of Heaven in the darkness of bad weather,

Like the crown of balance of power,

As the single essence of autocracy.

I dreamed of a nameless height,

Bumblebees are buzzing, daisies are blooming.

I am a lieutenant, my soul is pure,

We are silently surrounded on all sides.

And on the sheets the dew scatters the light,

The grove trembles in gilded red.

I take away the binoculars - there is no salvation,

I was lucky - everything was so simple and clear.

I'm lucky - there are fighters around me

Old enough to be my father.

A pinch of samosad goes around in a circle.

They are calm, they don’t need speeches.

There is no need to repeat to them about the duty,

List bereavements.

Nothing can take us away from Russia,

Thank her that we are her soldiers.

The path of upset life is bitter

Among losses and expensive shadows.

I love Rus' for what is hidden in it,

Because there is no escaping the sadness in her.

Her fields, graves and snowdrifts

And the temples tell the eye that here

The people live in sorrow, not in anger,

And he believes that there is truth in the world.

He was deceived more than once by thieves.

A host of executioners worked on him.

Fierce controversy raged about him...

And he, as before, is God’s or no one’s.

Thoughts about the saving heritage,

Looking greedily into a new day,

I see a new volume of the encyclopedia

Leaving Russian villages.

The people's genius will be reflected in it,

To marry the roots with the crown -

The fruit of the efforts of many generations.

Our job is to start on time.

There are many black huts along the roads,

They will let you in and not ask: “Who is this?”

Everyone will be told a lot

Who are they who keep the legends?

Remember, my age, their sunset is near!

Ghosts - without a gender, without a name.

Anyone who doesn't remember is guilty.

Beggars don't even want to listen

About distant abandoned relatives.

I see decay embraces the hut,

Sings about the past in private.

Brothers and decrepit sisters,

The years shake you mercilessly.

How many secrets do churchyards keep?

They bring live new ones to them.

We are all children of forgotten villages,

It’s easy to forget who we are in cities.

No longer answerable to the past,

We are happy to live life recklessly. The silence of mass graves.

My son, my son, in your youth you are free,
If you can be yourself, be yourself.

Maybe it's punishment, maybe it's mercy,
I don’t know at the end of my life.
Just remember, no matter what happens,
That your father is a true poet.

But the poet is not free in his destiny,
Either shout about it or forget about it.
I'm not rude, I'm terminally ill
From the moon falling on my chest.

There is no joy in a stern appearance,
And don't take your father's word.
You don't know what's behind the word.
The word is not given without love.

Have you ever admired the sea of lights spread out below from an airplane window at night? An unforgettable sight! When you fly abroad, this radiance accompanies you everywhere. And how boring and lonely you feel when in the vast expanses of Russia there is often only a dark abyss beneath you. What is this, is it really undeveloped lands? You will ask yourself a question and receive a terrible answer: a kingdom of extinct villages.

Where did they go? Is scientific and technological progress really to blame for everything? These questions worried the poet already in the 1970s Grigory Kalyuzhny, who was a Civil Aviation pilot at the time.

Hostage of heavenly wanderings,
Comparing your path under the wing,
I saw that there were no edges
Between city and village,
But the abyss gaped between them.
And into the soul of doubt the snake
She crawled with cold horror,
That the Motherland is mine.

Thoughts about the saving heritage,
Looking greedily into a new day
I see a new volume of the encyclopedia
Leaving Russian villages.

This poem was published in its entirety in Student Meridian. It ended with the same lines, but with the words “revived Russian villages” - this is exactly what Kalyuzhny dreamed of. By the way, our magazine was one of the first to support the poet, who was thinking about the revival of the rural world. Since 1988, this author has been running a column in the Student Meridian, which was first called “Encyclopedia of Fading Russian Villages.” True, quite quickly the editors began to receive indignant letters saying that villages were dying not only in Russia itself, but throughout the USSR, and in the title of the column they put the word “Russian” instead of “Russian”.

The impressions of the destruction of the original rural world taking place before our eyes deeply resonated in the work of the poet Grigory Kalyuzhny. In the peasant space, he saw a source of strength and inspiration for modern man, oppressed by a depersonalizing civilization. The return of man to his earthly origins, the spiritual connection with the world and the faith of his ancestors, the liberation of ideas about the village from everything superficial and false - these ideas prompted Kalyuzhny 15 years ago to initiate the creation of the cultural and educational society "Encyclopedia of Russian Villages". Together with the academician and president of the All-Russian Academy of Agricultural Sciences Alexander Alexandrovich Nikonov, the poet became the co-chairman of this society, and later created the publishing house “Encyclopedia of Villages and Villages”, the purpose of which was a comprehensive description of rural settlements from ancient times to the present day.

In the “Encyclopedia of Villages and Villages of the Moscow Region” series, the publishing house has published more than a dozen voluminous volumes dedicated to individual districts of the Moscow region - Ramensky, Kashirskoye, Yegoryevsky, Serebryano-Prudsky, Istrinsky. These books are the first to collect and summarize extensive documentary and factual material about the historical, socio-economic and cultural development of the districts of the Moscow region. They also contain historical descriptions of all villages, including those that no longer exist, based on careful archival research. The authors of the books are most often local historians who have devoted many years to collecting materials about their native land. But without the scientific and methodological support provided by the publishing house, the creation of a voluminous volume that meets the requirements of the encyclopedia genre, that is, a full range of knowledge about the subject, would be beyond the power of local historians. The publishing house undertakes assistance in collecting archival materials and printed sources, shares with the authors an extensive bibliography on the subject, conducts on-site surveys, systematizes the accumulated material, and thoroughly checks it.

Much space in the volumes of the encyclopedia is devoted to the spiritual life of the village, descriptions of churches - all references are given to the construction and reconstruction of churches, to the builders of the temples, and to the priests who served at different times. New information is often discovered even about major hierarchs of the Church. Thus, it turned out that the ancestors of Metropolitan Philaret (Drozdov) of Moscow came from the village of Kormovoy, now part of the Serebryano-Prudsky district. This work did not go unnoticed. Grigory Kalyuzhny was awarded a Certificate of Honor by Metropolitan of Krutitsky and Kolomna Juvenaly.

At one time, Nikolai Vasilyevich Gogol exclaimed with bitterness: “The ignorance of Russia is great - in the middle of Russia!” In a letter to Alexander Petrovich Tolstoy, he advised: “To find out what Russia is today, you must invariably travel through it yourself.” Following the advice of the classic, the publishing house is not satisfied only with collecting archival and printed sources; it organizes expeditions to the region that is the subject of the description. Director Grigory Kalyuzhny walked around many villages and villages in the Moscow region, took many photographs depicting churches, buildings, houses and the faces of the local villagers. In one village in the Serebryano-Prudsky district, he recorded a wonderful local song, which was then included in the book. Seeing his spiritual interest, the old people in the villages willingly gave him family photographs, including old ones from the 19th century. After the publication of the volume, the photographs were transferred to the Serebryanoprudsky Museum. And while working on the book “Istra Land” and traveling to the New Jerusalem Monastery, Kalyuzhny came up with a poem:

I go around the Istra villages,
It's like my family is everywhere here
On the bones of a hundred years of schism,
Forgetting about strife, it awaits me.
The traveler is greeted by the spring wind
At the high walls of the monastery,
I didn’t come here alone, I’m not from here,
On the rays of the Holy Altar.
The sovereigns came to him with bows,
A monk walked and a bishop walked,
All those who compassionately walked with faith
The difficult fate of people.
He gives healing to the sick,
Calls sinners to repentance.
In it Christ gives inspiration
And the immortal soul sings...

With each new book, the publishing house accumulates invaluable experience and creates a unique database of descriptions of rural settlements. Three books were published in 2004. All books are equipped with serious scientific reference equipment and indexes. The most extensive - “Istra Land” - has 848 large format pages, more than three hundred black-and-white and color illustrations. But the publishing house cannot use its creative and scientific potential to its full potential due to lack of funds. Publications of this kind are very knowledge-intensive, and the funds that the regions selflessly seek for them are clearly insufficient; Publishers have to do a lot of things using their own enthusiasm. The publishing house needs partners who know how to value information and understand that love for the Fatherland requires sacrifices in our time not only from a handful of people passionate about an unprofitable, but very important business - extracting bit by bit from oblivion and oblivion that which unites both rich and poor - our general history.

VASILY SHA KH O V

“COSMIC MUSIC”: VOLKOVA, VYUROV, KALYUZHNY

(“In moments of sad music”)

In moments of sad music
I imagine the yellow reach
And the woman’s farewell voice,
And the sound of gusty birches,

And the first snow under the gray sky
Among the extinct fields,
And a path without sun, a path without faith
Cranes driven by snow...

The soul has long been tired of wandering
In former love, in former hops,
The time has come to understand,
That I love ghosts too much.

But still in unstable dwellings -
Try to stop them!—
Calling to each other, the violins cry
About the yellow stretch, about love.

And still under the low sky
I see clearly, to the point of tears,
And the yellow reach and the close voice,
And the sound of gusty birches.

As if the farewell hour is eternal,
As if time has nothing to do with it...
In moments of sad music
Don't talk about anything.

...Lyrical and musical genres... Musical lyrical prose...

Song-musical metaphors... Verbal-figurative, rhythmically “organized”

plastic... “Music of the soul”... “Music of the heart”... “Dialectics of the soul”... “Magic crystal” of words, images, metaphors...

Traditions and new genres... New items in art... And now the Internet wizard

allows you to attend one of the premieres in the indescribably memorable city on the Neva...

SONATA No. 3 sounds... Composer NATALIA VOLKOVA. Performed (on piano) by OLGA LEVINTOVA... For some reason, for some reason, I felt a charming “roll call” with the Rubtsovskaya movie about cranes driven by snow, the humanized noise of gusty birches,

the lightly sad lamentation of the violin (“In moments of sad music, don’t talk about anything”).

Song reflections of Grigory Kalyuzhny

Cosmic-planetary possibilities of the Internet wizard... Premiere of songs and romances based on the poems of Grigory Kalyuzhsky... Composer Natalia Volkova musically “humanized” several poetic genres of the modern lyricist...

They say more and more often about Russian cosmism. The founders of Russian cosmism

They call the natives of the Ryazan region Konstantin Eduardovich Tsiolkovsky and Nikolai Fedorovich Fedorov. In the Ryazan “small homeland” of Tsiolkovsky and Fedorov, there is another “cosmist”: Sergei Aleksandrovich Yesenin, who believed that “man is a cup of cosmic separateness.”

Yesenin's song-musical, philosophical-lyrical tradition inspired the creative search of several generations of masters of verbal, plastic, musical and pictorial images. Among them is the gifted lyricist Grigory Kalyuzhny.

Honey, you are the best in the world,
One can only dream about.
I was as stupid as the wind with you,
Without you I want to cry.

It was not betrayal that came between us,
And the embrace of thieves' claws.
And when you escape from captivity,
I will say: “I returned from visiting.”

There is no love without faith, without torment.
I also struggled for many days
In the damned bonds of darkness
Surrounded by slate shadows.

Feelings cannot be extinguished, like candles,
And you can't ignore them.
Wherever I would look for a meeting with you,
Everywhere you stood in front of me.

Dear, beloved, dear,
Smile at me and wave.
My life is heavenly, earthly!
I'm happy that I met such...

Russian lyric poetry “got sick” not only of Yesenin, Akhmatova, Tsvetaeva; Bunin, Blok, Andrei Bely, Severyanin; the spring sources of Russian poetry are in Lermontov, Koltsov, Nikitin, Fet, Tyutchev, Nekrasov, Nadson, Surikov and the Surikovites. A romantic-song echo of the past, far and near... More and more generations of art masters are turning to “fine literature”, the enchanting call of a beautiful melody...

Volumes by Rubtsov “neighbor” with volumes by Simonov, Smelyakov, Ruchev, Bagritsky, Yuri Kuznetsov... Dozens of volumes of excellent philosophical and psychological lyrics... A special layer: song-romance lyrics, “woven” from the music itself...

Listening to the inspired singing of Vladimir Vyurov, the deep accompaniment of Natalia Volkova and Olga Levintova, I leaf through the volume of Grigory Kalyuzhny...

The path of upset life is bitter

Among losses and expensive shadows.

I love Rus' for what is hidden in it,

Because there is no escaping the sadness in her.

Her fields, graves and snowdrifts

And the temples tell the eye that here

The people live in sorrow, not in anger,

And he believes that there is truth in the world.

He was deceived more than once by thieves.

A host of executioners worked on him.

Fierce controversy raged about him...

And he, as before, is God’s or no one’s.

Song selection by Natalia Volkova

I have already written about the song and musical choice of composer Natalia Volkova. It was then about an excellently organized celebration of our outstanding poet-philosopher Alexei KHOMYAKOV. A creative group from St. Petersburg then performed in the “small homeland” of the thinker, master of words, culturologist, and educator.

And now - a new product... This time Natalia Viktorovna pleased the audience with music based on the words of the poet Grigory Kalyuzhny...

I’m leafing through the volume of Grigory Kalyuzhny...

The people have a strange head, If they are not their own people who rule coolly. On the paths of the promised paradise
Nightingales do not sing in spring. Therefore, it means nothing to us to recklessly turn back.
The Oriole will not overcry itself, We cannot change our fate. Still, there is enough sun for everyone around, There is enough for every burden to rise. And in the universal anguish we sing,
And in mortal sorrow we sing.

A volume of lyrics... A musical echo that humanizes the “dialectics of the soul”...

. My son, my son, in your youth you are free, If you can be yourself, be yourself.

Maybe this is punishment, maybe it’s mercy, I don’t know at the end of my years.
Just remember, no matter what happens, that your father is a true poet.

But the poet is not free in his fate, at least shout about it, at least forget about it.
I'm not rude, I'm deathly ill From the moon falling on my chest.

There is no joy in a stern appearance, And don’t take your father’s word.
You don't know what's behind the word. The word is not given without love

...The musical etude by composer N. Volkova “Funny Symmetry” is original... An echo “roll call” with the humorous poetics of Grigory Kalyuzhny:

“Read, children, Feta as an example for yourself. He was also a poet, He was also an officer. His lines breathe with the purity of flight. He loved the origins with the heart of a patriot. And I didn’t even dream
To trade the country, He is on guard for it, He is chilly under the moon. He didn't write at length
He didn’t create for fashion, but he decorously translated Horace’s odes for us.

He translated Goethe with brilliance, of course, Thought that you would understand him lovingly. Without losing his rank, he managed the economy, and left us memories of that. You will understand a lot
Reading them, children. "Aunts and uncles often lie about Fet."
………………………………………………………………………………………….

Horizons of life - horizons of lyrical cosmism

KALYUZHNY Grigory Petrovich was born in 1947 in the city of Makeevka, Donetsk region. Graduated from the Kirovograd School of Higher Flight Training. He worked as a civil aviation navigator on domestic and international airlines. Author of poetry collections: “Running Run”, “Thunderstorms” (1982), “On Colliding Courses” (1986), “Waiting Area” (1989), “Discover the Poet” (1991). Initiator of the creation of the “Encyclopedia of Villages and Villages”, chairman of the board and editor of the publishing house of the same name. Winner of the V.Ya. Shishkov Prize (for his great work in publishing books about the Russian province) and the “Imperial Culture” Prize named after E. Volodin.

I dreamed of a nameless height, bumblebees are buzzing, daisies are blooming.
I am a lieutenant, my soul is pure, We are silently surrounded on all sides.
And on the leaves the dew scatters the light, The grove trembles in gilded red.
I take away the binoculars - there is no salvation, I’m lucky - everything is so simple and clear.
I'm lucky - there are fighters around me who are old enough to be my fathers.
A pinch of samosad goes around in a circle. They are calm, they don’t need speeches.
There is no need to repeat to them about duty, to list heavy losses.
Nothing can take us away from Russia, Thank her that we are her soldiers

...Poetic geography of Russian lyrics... Different styles... Different personalities... Different genre-style improvisations...

Grigory Kalyuzhny “about s in about and l” the sphere of ENCYCLOPEDISM:

In the darkness of a cosmic tragedy

Equally meeting night and day,

The Encyclopedia star is burning

Russian villages and hamlets.

In its rays the earth rotates.

And whoever screamed has now disappeared,

Like, where does the peasant world end?

This is where progress begins.

Continuing the Gorky tradition, Grigory Kalyuzhny became the initiator of the “Encyclopedia of Villages and Villages”...

Thoughts about the saving heritage,

I see a new volume of the encyclopediaLeaving Russian villages.

The people's genius will be reflected in it,To marry the roots with the crown -

The fruit of the efforts of many generations.Our job is to start on time.

There are many black huts along the roads,They will let you in and not ask: “Who is this?”

- Who are they who keep the legends?Remember, my age, their decline is near!

Ghosts - without a gender, without a name.Anyone who doesn't remember is guilty.

Beggars don't even want to listenAbout distant abandoned relatives.

I see decay embraces the hut,Sings about the past in private.

- Brothers and decrepit sisters,The years shake you mercilessly.

How many secrets do churchyards keep?They bring live new ones to them.

We are all children of forgotten villages,It’s easy to forget who we are in cities.

No longer answerable to the past,We are happy to live life recklessly.

- Louder voice about abandoned heritage!Looking greedily into a new day,

I see a new volume of the encyclopediaRevived Russian villages.

The deep emotion of the “Postlude” (with the uplifting, psychologically tender and elegant “monologue” of the violin by Evgenia Sadovnikova)…

Word and musical image...

I swear by the lost river,Whose blue the frogs mourned,

What a terrible thing is the gloomy peaceEmpty villages forever.

- Why did they leave her?Where did they go and what will happen to her?

The past stretches across the rooftops,And wild decay wanders around the huts.

- Where did those find happiness?Who was born here in freedom,

Who was in spiritual simplicitySince ancient times, dear to living nature?

Calculation will not explain everything -It is not easy to leave this region.

Leads to an abandoned villageThe path from the ancient churchyard...

- But a shadow flashes or some guest - Already invigorated and sighs

Garden over the lost river.And suddenly the gate bursts into tears...

Golden baritone of Vladimir Vyurov

“The evening lights up the stars”... “The heart has nowhere to put it”... Vladimir Vyurov’s baritone seems to “immerse” the listener into a bizarrely deep world of experiences, hopes, charms...

Creative biography: Leningrad State Conservatory named after. N. A. Rimsky-Korsakov (class of People's Artist of the RSFSR I. P. Alekseev). Master classes by Professor Kurt Mohl (Germany). Winner of the Wagner Scholarship (Bayreuth, Germany). Soloist of the State Cultural Theater of St. Petersburg Opera. Soloist of the State Cultural Institution “Petersburg-Concert”. Soloist of the Opera and Ballet Theater of the St. Petersburg Conservatory. N. A. Rimsky-Korsakov. Soloist of the musical theater “Through the Looking Glass”...

…Beloved”... “It’s cold above the Neva...”. “I have not been given a straight path...”... Vladimir Vyurov’s baritone, musical accompaniment... An unspeakably intimate story about humanity, love of philosophy, the beautiful, the sublime, the repeatable and unique...

Vladimir Vyurov is undoubtedly talented... This is evidenced by the eloquent milestones of his creative biography.

Participation in Russian and international festivals: Russian national festival “Golden Mask”, Moscow (1998, 2000, 2002, 2005). International Festival of Chamber Art "Kostomuksha" (1996, 1998). Arts Festival “From the Avant-Garde to the Present Day”, St. Petersburg (from 1990 to the present). “International festival “St. Petersburg Musical Spring” (from 1990 to the present). International festival "Syktykvkar-Tulys" (1996, 1997, 1999, 2001). Sobinovsky Music Festival, Saratov (2000). Festival of Russian music dedicated to M. P. Mussorgsky, Pskov (2001). “Tsarskoye Selo Autumn” (2008). IV World Festival “St. Petersburg Samovar” (2009). “Hug, millions!”, St. Petersburg (2010). “St. Petersburg and the Russian word”, Kharkov (2010). “Palaces of St. Petersburg for children” (2011). “Tsarskoye Selo Russian Language Festival” (2011). St. Petersburg International Festival “Opera for Everyone” (2012).

...Naturally: I would like to know about the biographical conflicts of this wonderful performer. Creatively rich concert life: performs in the best concert halls of St. Petersburg: Academic Capella named after. M. Glinka.

Philharmonic named after D. Shostakovich. Concert hall of the Smolny Cathedral. Palace of Beloselsky-Belozersky. White Hall of the Polytechnic University. Concert hall at Finlyandsky. Variety theater. Music Hall Theater. Tour geography: Germany. Finland. France. Belgium. Latvia. Estonia. Ukraine. Russia. Poland.

Cooperation with conductors: O. Weder (Germany). F. Mastrangelo (Italy).
T. Sulkowski (Poland). V. Nesterov. P. Bubelnikov. M. Sinkevich.
V. Peterenko. V. Altshuller. A. Polyanichko. M. Heifetz. A. Anikhanov. A. Polishchuk.
Yu. Anisichkin. S. Gorkovenko. A. Steinlukht.M. Vinogradov. S. Inkov. T. Sokhiev.
A. Titov. V. Verbitsky. A. Kantorov. D. Khokhlov. V. Popov. S. Stadler...

Fruitful collaboration with contemporary composers:

I. Schwartz. Yu. Kornakov. A. Nesterov. G. Firtich. A. Sledin. N. Volkova. A. Tikhomirov. E. Rushansky. L. Prigogine. D. Zhuchenko. V. Malakhovskaya...

Creatively full collaboration with groups: Thuringian Symphony Orchestra (Thüringer Symphoniker) - Germany. Krakow Opera (Opera Krakowska) - Poland. Academic Symphony Orchestra. St. Petersburg Philharmonic named after. D. Shostakovich. State Academic Russian Orchestra. State Symphony Orchestra "Classics". Orchestra of the State Hermitage. Russian orchestra "Chimes". Chamber choir of the Smolny Cathedral. Academic Symphony Orchestra - Voronezh... Ensemble "Kalinushka". Ensemble "Grad Quartet". Ensemble "Art-contrast". Quartet "Russian Color". String Quartet "Concertino". Trio "Nuance". Trio "Fun". Double duet “Ma.Gr.Ig.Al.”…

Internet sources and bibliographic sources on paper contain information that Vladimir Vyurov also constantly performed and performs with popular St. Petersburg pop performers:
I. Bednykh, O. Favorskaya, T. Golysheva, L. Senchina, E. Khil, I. Besedin, V. Psarev, N. Sorokina, S. Rogozhin, Yu. Okhochinsky, Zh. Tatlyan. Together with the popular singer Zara, he took part in the dubbing of the animated film trilogy “Demon, Theseus, Faust”, nominated for the professional prize “Nika”.

Repertoire of Vladimir Vyurov: Romances of Russian composers. Ancient Russian romances. Russian folk songs. Songs from the repertoire of M. Magomaev. Songs from the repertoire of G. Ots. Arias and duets from operas. Arias and duets from operettas. Vocal cycles of Russian and foreign composers. More than 40 opera roles of the first plan.