Uncle Kozin. The blue moon of vadim kozin and the bedding whims of marc bernes

I did not let anyone sit on their neck, - recalls the patriarch of the national stage Shakhnarovich

The continuation of the memoirs of the famous Soviet and Russian concert director Pavel SHAKHNAROVICH is dedicated to his work with two famous singers. (See the rest of the chapters).

Pavel SHAKHNAROVICH. Photo by Alexander BOYKOV

CHAPTER 9. BREAKED BY THE CAMPS

The term is not for sodomy. - Threw three years "for the soldier." - Love for young boys. - Closed cities.

I also worked with the legendary Vadim Kozin... I met him in 1939 - even before he was arrested.

My friend and I were sitting at the Metropol restaurant. At that moment Kozin came. And there were no places. And the head waiter, with our permission, put him at our table. We liked him - he was so sociable, funny. But then this acquaintance did not receive any continuation.

Many years later, in the mid-50s, we met with him in Magadan, where he stayed to live after his release from the camp. For some reason, everyone thought that Kozin received a sentence for sodomy. Yes, he was blue. But he was imprisoned under a counter-revolutionary article. Vadim Alekseevich was very fond of jokes. Especially anti-Soviet. But he didn't have the intelligence to keep them in his head. He wrote them down in a special notebook. It was kept in a locked desk drawer, the key to which he kept in his pocket.

Vadim KOZIN

And Kozin lived in the Moscow hotel. All the workers there were snitches. One day the maid noticed that there was no key in one of the boxes. She opened it with a spare key, read Kozin's notes and immediately knocked on him. This was in 1944. The war was still going on. He was given five years and sent to Magadan. And already there he fucked a soldier and got three more years. Vadim Alekseevich himself told me this.

In Magadan, he suffered a lot from the head of "Dalstroy" Nikishova... This person had special powers from Stalin and was the complete master of the entire Kolyma region. He could jail or release any person without any trial.

His wife Alexandra Gridasova loved young boys very much. At her request, Nikishov released those who liked her from the camps and allowed them to settle and work in Magadan.

He hated Kozin and mocked him in every possible way. For some holiday in the Magadan theater, they organized a concert. And they brought Vadim Alekseevich from the camp. During his speech, Nikishov entered the hall. And he began to shout at the whole theater:

What is it? Remove this bugger immediately!

Kozin was not even allowed to sing and was sent back to the camp.

After his release, he also had hard times. They were not given either housing or work. Then my brother supported him Lev Shakhnarovich... The one who went to Magadan to edit the newspaper. Then he headed the local radio committee for some time. And in the early 50s he became the director of the theater. And he took Kozin to work.

The same Nikishov who mocked the unfortunate KOZIN

How grateful I am to Lev Alexandrovich! - said Vadim Alekseevich. - He saved me from starvation.

In Magadan, Kozin lived very apart. Occasionally he sang in the theater. But I didn't go anywhere.

Vadim Alekseevich, let's go on tour! - I suggested.

Well, where am I going? - Kozin doubted. - I'm already a fossil. I'm afraid the public won't accept me.

With great difficulty I persuaded him to give concerts on Sakhalin and Petropavlovsk-Kamchatsky. Kozin's arrival caused an incredible stir. There were so many people who wanted to listen to him that doors and windows were broken in theaters. A couple of years later, I ended up in Magadan again and started talking with him about touring. This time Vadim Alekseevich turned out to be more accommodating and agreed to go, as they said, "to the mainland."

In Magadan, Vadik lived in this house

True, it took a lot of work to get permission for this trip. Then all creative activity in our country was regulated by the so-called Glavlit - the Main Directorate for the Protection of State and Military Secrets. They determined whether a particular book, play or song could be released.

My friend, a musicologist, was a censor of the Muzgiz publishing house.

What are you forbidding there? Music, or what? - I wondered.

You don’t understand anything, ”she explained. - This music is decadent. And it must lead somewhere, to call for something.

Without the consent of the supervisory authorities, it was impossible even to form a tour route. After all, Kozin's conviction for counter-revolution has not yet been removed. And at that time there were cities closed to people with a criminal record.

When a person was released, a “-10” or “-15” mark was put in his passport, which meant the number of closed cities. Vadim Alekseevich also had such restrictions.

We started our tour from Primorye. Of course, we couldn't go to Vladivostok. But we were allowed to work in Ussuriisk. Then we were in Birobidzhan, Komsomolsk-on-Amur and semi-legally in Khabarovsk. From there we proceeded to Chita, Irkutsk, Krasnoyarsk, Novosibirsk, Tomsk and Omsk.

We were not allowed to enter Kemerovo. To Chelyabinsk and Sverdlovsk too. There was no talk at all about Moscow and the Moscow region.

There is a good theater in Serpukhov near Moscow, - I suggested carefully. - Maybe there is a concert?

No, - they answered me. We performed our last concerts in Tambov and Lipetsk. And we returned back to Magadan.

Surprisingly, not a single publication about our tour has appeared in the press for all the time. There was an instruction from above - not to draw attention to Kozin. The years spent in the camp, of course, greatly influenced him. Vadim Alekseevich was released already broken. There was some kind of fear in him. When we arrived in a new city, he kept asking:

I'm not getting arrested?

Kozin did not go on tour anymore. I didn't want to and, by and large, I physically couldn't.

CHAPTER 10. MARK-SEBE-ON-UMOVICH

The pink walls of the suite. - "Flying Coils". - Leaving Mosestrada. - "Circus on the Wall".

With the famous Mark Bernes, who, apparently, was nicknamed Mark-Sebe-Na-Umovich for a reason, my contact did not work out. He was very ambitious and capricious.

Once the Gastrolburo charged him with concerts in Krasnodar. And there was no one to go with him. Their director Sulkhanishvili, for old memory, decided to attract me.

He was a quarrelsome guy. And on the screen he seemed like a perfect man. Photo: © "ITAR-TASS"

I took Bernes to Krasnodar. No sooner had we checked into the hotel than Mark Naumovich called me:

Well, what is it ?! Why are the walls painted so dark gray? Is this a suite or a prison cell?

I went down to the receptionist and asked if there was a more fun room.

Would you like a suite facing the sunny side? she suggested. “The walls are pink there.

This is what you need! - I was delighted.

Relocated Bernes and returned to his room. A phone call in 10 minutes. It was Mark Naumovich again.

What is it? - he was indignant. - Why is the bedspread on the bed not silk?

Mark Naumovich, will you sleep on this bedspread? - I tried to calm down. - Remove it and put it out of sight in the closet.

But Bernes did not stop and demanded to change the number. I'm tired. Didn't change anything.

There are only such fabric bedspreads in the whole hotel, ”I told him. - Live in this room!

And he called a friend from the Krasnodar Philharmonic and asked him to buy me a ticket to SV for the next train to Moscow.

And what happened? - he worried. - Has someone died?

I explained the situation.

Let this Bernes go to such and such a mother! - agreed a friend.

So I thought so, - I said. - He does not work for us at Mosestrad. I don't give a damn about him! I'll leave you all the documents. Please give me money to the Bernes team. And mark the documents and hand them over to the Gastrolburo with one of the musicians.

Here was about the same number he was offered. Something is wrong?

I got on the train and left for Moscow.

I felt independent everywhere. He didn't let anyone sit on his neck. I have never in my life brought suitcases to artists like other administrators. There are porters for this! No matter how groveling my profession was, I believed that I was a high-class specialist, I had dignity and must be respected.

... My work at Mosestrad ended due to an absurd accident. Conducted group concerts at receptions in the Kremlin. We had a circus act called Flying Reels. The artist, using two sticks with a fishing line attached to them, threw several reels glowing in the dark. And the bulbs built into them were powered by batteries. Before the next concert, it turned out that the batteries had run out and it was impossible to buy new ones anywhere.

There will be a scandal, - I said to the artist. - So that you do not fly, I will announce that you are ill! Take the bulletin urgently from the clinic.

He promised. And the next day he confessed to our director that he did not speak not because of illness, but because of the batteries.

Why did you lie to the Kremlin representatives? - the director snapped.

How would they know about it?

Well, if I have found out, now everyone will know, ”he assured.

Indeed, the story has reached the representatives. Some bastard knocked.

We cannot work with a person who deceived us, - they told me.

And don't! - I answered.

My brother had an acquaintance - the deputy general director of the Union State Circus. He was ready to take me to the Circus on Tsvetnoy Boulevard. But I refused:

I do not know this specificity. There are also animals. They need to be transported. I have never encountered this.

I encountered animals during the war in Alma-Ata. That was enough for me.

Maybe then Circus on the Wall will suit you? - suggested an acquaintance of his brother. “They give regular concerts with circus performers.

I liked this option. And I went to this office. And then for some time he returned to Mosfilm and took part in the creation of the films The Tale of Tsar Saltan, Marine Stories and Operation Trust. I didn’t stay without work.

To be continued...

Vadim Kozin was born on March 21 (April 3), 1903 in St. Petersburg, in the family of a Petersburg merchant of the first guild Alexei Kozin and a gypsy woman from the Ilyinsky-Sankin choir dynasty Vera Ilyinsky. His father died early, so Vadim was forced to interrupt his studies at the gymnasium in order to help his mother and sisters. Kozin began his artistic career as a pianist, dubbing silent films. Then he began to sing. Has performed on the stage since the 1920s. He sang in the comic choir of Charov, then began solo performances, performed gypsy songs and romances ("Gate", "Foggy Morning", "My Fire"), works by Russian composers, and his own compositions. Kozin's popularity in large cities of Russia, and especially in Leningrad in the 1930s, was fantastic. According to the recollections of contemporaries, huge queues lined up for Kozin's gramophone records. In order to avoid riots, even the mounted police had to be involved. Kozin sang mainly to the piano accompaniment of David Ashkenazi, also to V. Sidorov's jazz ensemble, B. Krupyshev's Hawaiian ensemble. His inspiration was such that he proudly recalled that in each concert he performed up to forty songs without a microphone and amplifying equipment.

During the Great Patriotic War

During the Great Patriotic War Kozin gives concerts in units of the active army. By order of the People's Commissar of Railways, a special carriage is allocated to him for travel. The records with Kozin's recordings fall into a special category (they cannot be returned for melting). In 1941, Kozin prepared a program, which included his patriotic song "Moscow" ("No, my Moscow will not be taken by them ...").

In early December 1943, Kozin, along with Maurice Chevalier, Marlene Dietrich and Iza Kremer, took part in a concert for the participants of the Tehran Conference.

Condemnation

Since 1945, Kozin's voice disappeared from the air; no records were released. By a special meeting at the NKVD in 1944, he was sentenced to 8 years under Article 121 (for sodomy and child abuse). He served his sentence in Kolyma. Was released early in 1950 for exemplary behavior and good work. In the certificate issued by the administration of the camps, a dash was put in the column “under which article was convicted”.

The singer's biographers note that Kozin served his term easily, was not involved in hard physical labor, worked in the Magadan Music and Drama Theater along with other famous artists-prisoners of Kolymalag. The camp authorities highly appreciated the famous and beloved singer.

Back on stage

In the 1950s, he resumed his concert activity, first in Siberia, and then in the European part of the USSR, increasing its former popularity. However, in 1959 he was convicted again under the same article. Until the end of his life he lived in Magadan, remaining a kind of landmark of the city, a legendary person.

In the 1960s, the songs “Do not frighten me with bitter fate” (A. Akhmatova), “Only black velvet” (N. Gumilyov), “Do not wake up memories” (K. Balmont), “White snows are falling” (E. Yevtushenko ). In the pre-war and war years, Kozin released more than 50 records at Gramplasttrest.

In the early 90s, interest in the forgotten singer suddenly arose in the country. Several programs were broadcast on central television channels dedicated to his work and talent. To celebrate the 90th anniversary of the singer in 1993, a whole delegation of famous cultural figures headed by Joseph Kobzon flew to Magadan. The "Vadim Kozin Music Salon" was organized.

Vadim Alekseevich died on December 19, 1994 in Magadan and was buried in Magadan at the Marchekan cemetery. During his life, he created about 300 songs, and his repertoire consisted of over 3000 songs.

After his death, the music salon was transformed into a memorial museum apartment.

Description of voice and creativity

Kozin's voice is warm, soft timbre, freely going up, mobile and iridescent. Reminds the voice of Sergei Lemeshev, but more chamber, matte and with a specific nasal tinge. Kozin's singing in his best years (1930-1940s) makes a very great impression due to the most accurate intonation, subtle and insightful feeling of the song material, high musical culture and passion of performance. Kozin is a talented melodic composer, his best songs "Autumn", "Lyubushka" are invariably popular in our time, they are performed by I. Kobzon, N. Nikitsky, T. Kravtsova and other pop masters. Kozin is a well-known popularizer of the Gypsy tabor song culture.

Memory

Memorial apartment museum in Magadan

The only museum in Russia created in memory of the life and work of the legendary singer. In 1991, on the eve of his 90th birthday, the chairman of the Magadan City Executive Committee G.E.Dorofeev initiated the creation of a music salon next to the singer's apartment, in which he gave home concerts until the end of his days, accompanying himself on a grand piano donated to the 90th anniversary. Becker ". In 1995, the head of Magadan, Nikolai Karpenko, decided to create a memorial museum in the apartment in which the singer lived since 1968, at 1 Shkolny lane, apt. 9. The interior that surrounded it for many years has been preserved here: the Red October piano, the Timbre tape recorders, a submarine radio, furniture, household items and personal belongings. Here Kozin received guests and sang for Boris Shtokolov, Oleg Lundstrom, Evgeny Yevtushenko, artists of the Romen Gypsy theater. The intellectual and creative heritage of Vadim Kozin consists of magnetic tapes recorded by the singer at home in the 60s - 70s, extensive correspondence and personal diaries of the late 50s - early 90s, an extensive library, a collection of notes, posters, regional geographic collections of newspaper publications, personal archive of photographs.

Today, the memorial apartment and the music salon, as during the life of Vadim Alekseevich, are visited by Magadan residents of different generations, visiting artists and politicians, and foreign guests of the city. At concerts, songs and romances from the repertoire of the singer and his contemporaries are played, a collection of picturesque portraits of the singer is displayed, literary and musical evenings and meetings of participants in the discussion club of the creative and scientific intelligentsia "Good Conversation" are held, the Public Council is working under the leadership of the Mayor of Magadan Vladimir Pecheny. The Vadim Kozin Museum is really in demand by the local and Russian community, it is a popular tourist attraction. About 4 thousand people visit it annually.

→ Russia, Russia

Vadim Alekseevich Kozin(-) - Soviet pop singer (lyric tenor), composer, poet, author of several hundred songs.

Biography

Vadim Kozin was born on March 21 (April 3) in St. Petersburg, in the family of a St. Petersburg merchant of the first guild Alexei Kozin and a gypsy woman from the Ilyinsky-Sankin choral dynasty Vera Ilyinsky. His father died early, so Vadim was forced to interrupt his studies at the gymnasium in order to help his mother and sisters.

Kozin began his artistic career as a pianist, dubbing silent films. Then he began to sing. Has performed on the stage since the 1920s. He sang in the comic choir of Charov, then began solo performances, performed gypsy songs and romances ("Gate", "Foggy Morning", "My Fire"), works by Russian composers, and his own compositions.

Kozin's popularity in large cities of Russia, and especially in Leningrad, was fantastic in the 1930s. According to the recollections of contemporaries, huge queues lined up for Kozin's gramophone records. In order to avoid riots, even the mounted police had to be involved. Kozin sang mainly to the piano accompaniment of David Ashkenazi, also to the jazz ensemble of V. A. Sidorov, the Hawaiian ensemble of Boris Bokru-Krupyshev. His inspiration was such that he proudly recalled that in each concert he performed up to forty songs without a microphone and amplifying equipment.

During the Great Patriotic War

Condemnation

Back on stage

In the 1950s, he resumed his concert activity, first in Siberia, and then in the European part of the USSR, increasing its former popularity. However, in 1959 he was re-convicted under the same article. Until the end of his life he lived in Magadan, remaining a kind of landmark of the city, a legendary person.

In the early 1990s, interest in the forgotten singer suddenly arose in the country. Several programs were broadcast on central television channels dedicated to his work and talent. To celebrate the 90th anniversary of the singer in 1993, a whole delegation of famous cultural figures headed by Joseph Kobzon flew to Magadan. The "Vadim Kozin Music Salon" was organized.

Vadim Alekseevich died on December 19, 1994 in Magadan. He was buried in Magadan at the Marchekan cemetery. During his life, he created about 300 songs, and his repertoire consisted of over 3000 songs.

After his death, the music salon was transformed into a memorial museum apartment.

Description of voice and creativity

Kozin's voice is warm, soft timbre, freely going up, mobile and iridescent. Reminds the voice of Sergei Lemeshev, but more chamber, matte and with a specific nasal tinge. The singer recalled that his voice was, in principle, delivered by nature, so it was easy for him to study and not for long, the teachers paid attention to the accuracy of intonation and the prevention of sound forcing. The singer by nature was endowed not only with a pleasant and heartfelt voice, but also with a fine ear for music and great artistic talent, a strong singing and artistic temperament, therefore, in essence, he was a nugget singer who gained great popularity in Leningrad at the end of the 1930s. and further to the USSR. Kozin's singing in his best years (1930-1940s) makes a very great impression due to the most accurate intonation, subtle and insightful feeling of the song material, high musical culture and passion of performance. Kozin is a talented melodic composer, his best songs "Autumn", "Lyubushka" are invariably popular in our time, they are performed by I. Kobzon, N. Nikitsky, T. Kravtsova and other pop masters. Kozin is a well-known popularizer of the Gypsy tabor song culture.

Discography

Gramophone records

• Goodbye, My Tabor / Always And Everywhere For You. - Noginsk Plant - 5597, Noginsk Plant - 5784
• Gate / Singing Again. - Noginsk Plant - 5796, Noginsk Plant - 6481
• Autumn / Lyubushka. - Noginsk Plant - 9571, Noginsk Plant - 9572
• Masha / Song. - Aprelevsky Plant - 9203, Aprelevsky Plant - 9207
• Pity Moans / Beggar. - Noginsk Plant - 9590, Noginsk Plant - 9591

Memory

Memorial apartment museum in Magadan

The only museum in Russia created in memory of the life and work of the legendary singer. In 1991, on the eve of his 90th birthday, the chairman of the Magadan City Executive Committee G.E.Dorofeev initiated the creation of a music salon next to the singer's apartment, in which he gave home concerts until the end of his days, accompanying himself on a grand piano donated to the 90th anniversary. Becker ". In 1995, the head of the Magadan administration, Nikolai Karpenko, decided to create a memorial museum in the apartment in which the singer lived since 1968, at 1 Shkolny Lane, apt. 9. The interior that surrounded it for many years has been preserved here: the Red October piano, the Timbre tape recorders, a submarine radio, furniture, household items and personal belongings. Here Kozin received guests and sang for Boris Shtokolov, Oleg Lundstrem, Yevgeny Yevtushenko, artists of the Romen Gypsy theater. The intellectual and creative heritage of Vadim Kozin consists of magnetic tapes recorded by the singer at home in the 60s - 70s, extensive correspondence and personal diaries of the late 50s - early 90s, an extensive library, a collection of notes, posters, regional geographic collections of newspaper publications, personal archive of photographs.

Today, the memorial apartment and the music salon, as during the life of Vadim Alekseevich, are visited by Magadan residents of different generations, visiting artists and politicians, and foreign guests of the city. At concerts, songs and romances from the repertoire of the singer and his contemporaries are played, a collection of picturesque portraits of the singer is displayed, literary and musical evenings and meetings of participants in the discussion club of the creative and scientific intelligentsia "Good Conversation" are held, the Public Council is working under the leadership of the Mayor of Magadan Vladimir Pecheny. The Vadim Kozin Museum is really in demand by the local and Russian community, it is a popular tourist attraction. About 4 thousand people visit it annually.

Kozin's name is found in V. Shalamov's story "Ivan Fedorovich".

In his autobiography "To lose everything and start again with a dream" writes about Vadim Kozin and V. I. Tumanov. In particular, such a detail, witnessed by the author: “And here the incredible happens. Kozin takes a step forward, almost to the edge of the stage, and speaks clearly, with pauses between words: - I came to sing for the prisoners. Therefore, I ask the camp authorities to leave us alone. The audience is numb, not knowing how to take this. After a short bewilderment, at a sign from the camp chief, the officers and their families, followed by the guards, leave the canteen. "

Petersburg

Malaya Posadskaya street, 20 - his grandson, the future famous singer V.A. The house has a memorial plaque by the honored artist of Georgia Romi Rakviashvili.

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• Vitaly Dixon

An excerpt characterizing Kozin, Vadim Alekseevich

On the same evening, Pierre went to the Rostovs to carry out his assignment. Natasha was in bed, the count was at the club, and Pierre, having handed over the letters to Sonya, went to Marya Dmitrievna, who was interested in finding out how Prince Andrey had received the news. Ten minutes later Sonya entered Marya Dmitrievna's.
“Natasha certainly wants to see Count Pyotr Kirillovich,” she said.
- But how, to her what eh bring him? You have not tidied up there, ”said Marya Dmitrievna.
“No, she got dressed and went into the living room,” said Sonya.
Marya Dmitrievna only shrugged her shoulders.
- When this Countess arrives, she has exhausted me completely. Look, don't tell her everything, ”she turned to Pierre. - And to scold her, the spirit is not enough, so pitiful, so pitiful!
Natasha, emaciated, with a pale and stern face (not at all ashamed, as Pierre had expected her), stood in the middle of the drawing-room. When Pierre appeared at the door, she hurried, obviously indecisive, whether to approach him or wait for him.
Pierre hurriedly went up to her. He thought that she, as always, would give him her hand; but, coming close to him, she stopped, breathing heavily and lifelessly dropping her arms, in exactly the same position in which she went out into the middle of the hall to sing, but with a completely different expression.
- Pyotr Kirilich, - she began to speak quickly - Prince Bolkonsky was your friend, he is your friend, - she corrected herself (it seemed to her that everything had just happened, and that now everything is different). - He told me then to address you ...
Pierre silently sniffled at her. Until now, in his soul he reproached and tried to despise her; but now he felt so sorry for her that there was no room for reproach in his soul.
“He’s here now, tell him… to be simple… to forgive me. - She stopped and began to breathe even more often, but did not cry.
- Yes ... I will tell him, - Pierre said, but ... - He did not know what to say.
Natasha was evidently frightened by the thought that might come to Pierre.
“No, I know it's over,” she said hastily. - No, it can never be. I am tormented only by the evil that I did to him. Just tell him that I ask him to forgive, forgive, forgive me for everything ... - She shook all over and sat down on a chair.
A feeling of pity, never experienced before, filled Pierre's soul.
“I’ll tell him, I’ll tell him again,” said Pierre; - but ... I would like to know one thing ...
"What to know?" asked Natasha's glance.
- I would like to know if you loved ... - Pierre did not know what to call Anatole and blushed at the thought of him, - did you love this bad person?
“Don't call him bad,” Natasha said. “But I don’t know anything…” She began to cry again.
And even more a feeling of pity, tenderness and love seized Pierre. He heard tears flowing under his glasses and hoped they would not be noticed.
“We’ll say no more, my friend,” said Pierre.
It was so strange for Natasha that his meek, gentle, soulful voice suddenly seemed.
- We will not speak, my friend, I will tell him everything; but one thing I ask of you - consider me your friend, and if you need help, advice, you just need to pour out your soul to someone - not now, but when it becomes clear in your soul - remember me. He took and kissed her hand. - I will be happy if I am able to ... - Pierre was embarrassed.
- Do not talk to me like this: I am not worth it! Natasha screamed and wanted to leave the room, but Pierre held her hand. He knew he needed something else to tell her. But when he said this, he was surprised at his own words.
“Stop it, stop it, your whole life is ahead for you,” he told her.
- For me? No! Everything is lost for me, ”she said with shame and self-deprecation.
- Everything is lost? He repeated. - If I were not me, but the most beautiful, smartest and best man in the world, and were free, I would be on my knees this minute for your hand and your love.
For the first time after many days Natasha cried with tears of gratitude and tenderness and, looking at Pierre, left the room.
Pierre, too, almost ran after her into the hall, holding back tears of emotion and happiness that were pressing on his throat, without falling into his sleeves, put on a fur coat and sat down in the sleigh.
- Now where will you order? Asked the coachman.
"Where? Pierre asked himself. Where can you go now? Is it really a club or guests? " All people seemed so pitiful, so poor in comparison with the feelings of tenderness and love that he felt; in comparison with the softened, grateful look that she last looked at him because of her tears.
- Home, - said Pierre, in spite of ten degrees of frost, plowing open a bear fur coat on his broad, happily breathing chest.
It was frosty and clear. Over the dirty, half-dark streets, over the black roofs, there was a dark, starry sky. Pierre, just looking at the sky, did not feel the insulting baseness of everything earthly in comparison with the height at which his soul was. At the entrance to Arbat Square, a huge space of the starry dark sky opened up to Pierre's eyes. Almost in the middle of this sky above Prechistensky Boulevard, surrounded, strewn with stars on all sides, but differing from everyone by its proximity to the earth, white light, and a long, upturned tail, stood a huge bright comet of 1812, the same comet that foreshadowed, as they said, all sorts of horrors and the end of the world. But in Pierre, this bright star with a long, radiant tail did not arouse any terrible feeling. Opposite, Pierre gazed joyfully, eyes wet with tears, at this bright star, which, as if, with inexpressible speed flying immeasurable spaces along a parabolic line, suddenly, like an arrow piercing the ground, slammed into one place she had chosen, in the black sky, and stopped, her tail lifted vigorously, glowing and playing with her white light between countless other twinkling stars. It seemed to Pierre that this star fully corresponded to what was in his soul, which blossomed into a new life, softened and emboldened.

From the end of 1811, reinforced armament and concentration of forces began. Western Europe, and in 1812 these forces - millions of people (counting those who transported and fed the army) moved from West to East, to the borders of Russia, to which the Russian forces were drawn in the same way since 1811. On June 12, the forces of Western Europe crossed the borders of Russia, and the war began, that is, the opposite to human reason and all human nature event. Millions of people committed, against each other, such a countless number of atrocities, deceptions, treason, theft, forgery and the issuance of false banknotes, robberies, arson and murders, which for centuries will not be collected by the chronicle of all the courts of the world and for which, during this period of time, people those who committed them did not look at them as crimes.
What caused this extraordinary event? What were the reasons for it? Historians say with naive confidence that the reasons for this event were the insult inflicted on the Duke of Oldenburg, non-compliance with the continental system, Napoleon's lust for power, Alexander's firmness, diplomatic mistakes, etc.
Consequently, it was only worth Metternich, Rumyantsev or Talleyrand, between the exit and the reception, to try hard and write a more searching piece of paper or to Napoleon write to Alexander: Monsieur mon frere, je consens a rendre le duche au duc d "Oldenbourg, [My dear brother, I agree return the duchy to the Duke of Oldenburg.] - and there would be no war.
It is clear that this was how the business seemed to contemporaries. It is clear that it seemed to Napoleon that the cause of the war was the intrigues of England (as he said it on the island of St. Helena); it is understandable that the members of the English House thought that the cause of the war was Napoleon's lust for power; that it seemed to the Prince of Oldenburg that the cause of the war was the violence committed against him; that the merchants thought that the cause of the war was the continental system that ravaged Europe, that the old soldiers and generals thought that the main reason was the need to use them in business; the legitimists of that time that it was necessary to restore les bons principes [good principles], and the diplomats of that time that everything happened because the alliance of Russia with Austria in 1809 was not skillfully hidden from Napoleon and that the memorandum was awkwardly written for No. 178. It is clear that these and countless more, endless amount reasons, the number of which depends on the innumerable difference of points of view, was presented to contemporaries; but for us - descendants, contemplating in all its scope the enormity of the event that took place and delving into its simple and terrible meaning, these reasons seem insufficient. It is incomprehensible to us that millions of Christians killed and tortured each other, because Napoleon was power-hungry, Alexander was firm, the policy of England was cunning and the Duke of Oldenburg was offended. It is impossible to understand what connection these circumstances have with the very fact of murder and violence; why, due to the fact that the duke was offended, thousands of people from the other end of Europe killed and ruined the people of the Smolensk and Moscow provinces and were killed by them.
For us, descendants, - not historians, not carried away by the process of research and therefore contemplating an event with undimmed common sense, its causes are presented in innumerable numbers. The more we delve into the search for reasons, the more they open to us, and every single reason taken or a whole series of reasons seems to us equally fair in themselves, and equally false in their insignificance in comparison with the enormity of the event, and equally false in their invalidity ( without the participation of all other coinciding reasons) to produce the event that has occurred. The same reason as Napoleon's refusal to withdraw his troops across the Vistula and to give back the Duchy of Oldenburg, seems to us the desire or unwillingness of the first French corporal to enter the secondary service: for if he did not want to go into service and would not want another, the third , and the thousandth corporal and soldiers, so fewer people would have been in Napoleon's army, and there could not have been a war.
If Napoleon had not been offended by the demand to retreat beyond the Vistula and had not ordered the troops to advance, there would have been no war; but if all the sergeants did not want to enter secondary service, there could be no war either. There could be no war, if there were no intrigues of England, and there would be no Prince of Oldenburg and a feeling of insult in Alexander, and there would be no autocratic power in Russia, and there would be no French revolution and the ensuing dictatorship and empire, and all that that produced the French Revolution, and so on. Without one of these reasons, nothing could have happened. Therefore, all these reasons - billions of reasons - coincided in order to produce what was. And, therefore, nothing was the exclusive cause of the event, and the event had to happen only because it had to happen. Millions of people, having renounced their human feelings and their reason, had to go to the East from the West and kill their own kind, just like a few centuries ago crowds of people went from East to West, killing their own kind.
The actions of Napoleon and Alexander, on whose words depended, it seemed, whether the event would happen or not, were just as little arbitrary as the actions of each soldier who went on a campaign by lot or by recruitment. It could not be otherwise, because in order for the will of Napoleon and Alexander (those people on whom the event seemed to depend) to be fulfilled, the coincidence of countless circumstances was necessary, without one of which the event could not have happened. It was necessary that millions of people, in whose hands there was real power, the soldiers who fired, carried provisions and guns, it was necessary that they agree to fulfill this will of single and weak people and be led to this by countless complex, varied reasons.

Vadim Alekseevich Kozin(-) - Soviet pop singer (lyric tenor), composer, poet, author of several hundred songs.

Biography

Vadim Kozin was born on March 21 (April 3) in St. Petersburg, in the family of a St. Petersburg merchant of the first guild Alexei Kozin and a gypsy woman from the Ilyinsky-Sankin choral dynasty Vera Ilyinsky. His father died early, so Vadim was forced to interrupt his studies at the gymnasium in order to help his mother and sisters.

Kozin began his artistic career as a pianist, dubbing silent films. Then he began to sing. Has performed on the stage since the 1920s. He sang in the comic choir "Komkhor" by A. V. Charov, then began solo performances, performed gypsy songs and romances ("Gate", "Misty Morning", "My Fire"), works by Russian composers, and his own compositions.

Kozin's popularity in large cities of Russia, and especially in Leningrad, was fantastic in the 1930s. According to the recollections of contemporaries, huge queues lined up for Kozin's gramophone records. In order to avoid riots, even the mounted police had to be involved. Kozin sang mainly to the piano accompaniment of David Ashkenazi, also to the jazz ensemble of V. A. Sidorov, the Hawaiian ensemble of Boris Bokru-Krupyshev. His inspiration was such that he proudly recalled that in each concert he performed up to forty songs without a microphone and amplifying equipment.

In his own words, he accompanied Stalin when he sang Russian ditties.

During the Great Patriotic War

Condemnation

The singer's biographers note that Kozin served his term easily, was not involved in hard physical labor, worked in the Magadan Music and Drama Theater along with other famous artists-prisoners of Kolymalag. Aleksandra Gridasova, head of the Sevvostlag Maglag, saved him from hard work.

Back on stage

In the 1950s, he resumed his concert activity, first in Siberia, and then in the European part of the USSR, increasing its former popularity. However, in 1959 he was re-convicted under Article 154a of the RSFSR Criminal Code ("sodomy") and served his sentence until 1961.

Until the end of his life he lived in Magadan, remaining a kind of landmark of the city, a legendary person. On the shelf he had a complete collection of Stalin's works, a collection of Songs about Stalin. He sang "And I love the boulevards of Magadan", collected newspaper clippings on international topics and art, had many cats, one of them was called "Plisetskaya".

In the early 1990s, interest in the forgotten singer suddenly arose in the country. Several programs were broadcast on central television channels dedicated to his work and talent. To celebrate the 90th anniversary of the singer in 1993, a whole delegation of famous cultural figures headed by Joseph Kobzon flew to Magadan. The "Vadim Kozin Music Salon" was organized.

Vadim Alekseevich died on December 19, 1994 in Magadan. He was buried in Magadan at the Marchekan cemetery. During his life, he created about 300 songs, and his repertoire consisted of over 3000 songs.

After his death, the music salon was transformed into a memorial apartment museum.

Description of voice and creativity

Kozin's voice is warm, soft timbre, freely going up, mobile and iridescent. Reminds the voice of Sergei Lemeshev, but more chamber, matte and with a specific nasal tinge. The singer recalled that his voice was, in principle, delivered by nature, so it was easy for him to study and not for long, the teachers paid attention to the accuracy of intonation and the prevention of sound forcing. The singer by nature was endowed not only with a pleasant and heartfelt voice, but also with a fine ear for music and great artistic talent, a strong singing and artistic temperament, therefore, in essence, he was a nugget singer who gained great popularity in Leningrad at the end of the 1930s. and further to the USSR. Kozin's singing in his best years (1930-1940s) makes a very great impression due to the most accurate intonation, subtle and insightful feeling of the song material, high musical culture and passion of performance. Kozin is a talented melodic composer, his best songs "Autumn", "Lyubushka" are invariably popular in our time, they are performed by I. Kobzon, N. Nikitsky, T. Kravtsova and other pop masters. Kozin is a well-known popularizer of the Gypsy tabor song culture.

Discography

Gramophone records

• Goodbye, My Tabor / Always And Everywhere For You. - Noginsk Plant - 5597, Noginsk Plant - 5784
• Gate / Singing Again. - Noginsk Plant - 5796, Noginsk Plant - 6481
• Autumn / Lyubushka. - Noginsk Plant - 9571, Noginsk Plant - 9572
• Masha / Song. - Aprelevsky Plant - 9203, Aprelevsky Plant - 9207
• Pity Moans / Beggar. - Noginsk Plant - 9590, Noginsk Plant - 9591

Memory

Memorial apartment museum in Magadan

The only museum in Russia created in memory of the life and work of the legendary singer. In 1991, on the eve of his 90th birthday, the chairman of the Magadan City Executive Committee G.E.Dorofeev initiated the creation of a music salon next to the singer's apartment, in which he gave home concerts until the end of his days, accompanying himself on a grand piano donated to the 90th anniversary. Becker ". In 1995, the head of the Magadan administration, Nikolai Karpenko, decided to create a memorial museum in the apartment in which the singer lived since 1968, at 1 Shkolny Lane, apt. 9. The interior that surrounded it for many years has been preserved here: the Red October piano, the Timbre tape recorders, a submarine radio, furniture, household items and personal belongings. Here Kozin received guests and sang for Boris Shtokolov, Oleg Lundstrem, Yevgeny Yevtushenko, artists of the Romen Gypsy theater. The intellectual and creative heritage of Vadim Kozin consists of magnetic tapes recorded by the singer at home in the 60s - 70s, extensive correspondence and personal diaries of the late 50s - early 90s, an extensive library, a collection of notes, posters, regional geographic collections of newspaper publications, personal archive of photographs.

Today, the memorial apartment and the music salon, as during the life of Vadim Alekseevich, are visited by Magadan residents of different generations, visiting artists and politicians, and foreign guests of the city. At concerts, songs and romances from the repertoire of the singer and his contemporaries are played, a collection of picturesque portraits of the singer is displayed, literary and musical evenings and meetings of participants in the discussion club of the creative and scientific intelligentsia "Good Conversation" are held, the Public Council is working under the leadership of the Mayor of Magadan Vladimir Pecheny. The Vadim Kozin Museum is really in demand by the local and Russian community, it is a popular tourist attraction. About 4 thousand people visit it annually.

The name of Kozin is found in VT Shalamov's story "Ivan Fedorovich".

In his autobiography "To lose everything and start again with a dream" writes about Vadim Kozin and V. I. Tumanov. In particular, such a detail, witnessed by the author: “And here the incredible happens. Kozin takes a step forward, almost to the edge of the stage, and speaks clearly, with pauses between words: - I came to sing for the prisoners. Therefore, I ask the camp authorities to leave us alone. The audience is numb, not knowing how to take this. After a short bewilderment, at a sign from the camp chief, the officers and their families, followed by the guards, leave the canteen. "

In 2013, on the occasion of the 110th anniversary of his birth in Magadan, a monument was erected to Vadim Kozin (sculptor Yu.S. Rudenko) in the park on Karl Marx Ave.

Petersburg

Malaya Posadskaya street, 20 - in a mansion located on a site acquired in

Vadim Alekseevich Kozin (1903 - 1994) - Russian pop singer (lyric tenor), composer, poet, author of several hundred songs.
Vadim Kozin was born on March 21 (April 3), 1903 in St. Petersburg, in the family of a Petersburg merchant of the first guild Alexei Kozin and a gypsy woman from the choral dynasty Vera Ilyinskaya. His father died early, so Vadim was forced to interrupt his studies at the gymnasium in order to help his mother and sisters. Kozin began his artistic career as a pianist, dubbing silent films. Then he began to sing. Has performed on the stage since the 1920s. He sang in the comic choir of Charov, then began solo performances, performed gypsy songs and romances ("Gate", "Foggy Morning", "My Fire"), works by Russian composers, and his own compositions. Kozin's popularity in large cities of Russia, and especially in Leningrad in the 1930s, was fantastic. According to the recollections of contemporaries, huge queues lined up for Kozin's gramophone records. In order to avoid riots, even the mounted police had to be involved. Kozin sang mainly to the piano accompaniment of David Ashkenazi, also to V. Sidorov's jazz ensemble, B. Krupyshev's Hawaiian ensemble. His inspiration was such that he proudly recalled that in each concert he performed up to forty songs without a microphone and amplifying equipment.
During the Great Patriotic War, Kozin gives concerts in units of the active army. By order of the People's Commissar of Railways, a special carriage is allocated to him for travel. The records with Kozin's recordings fall into a special category (they cannot be returned for melting). In 1941, Kozin prepared a program, which included his patriotic song "Moscow" ("No, my Moscow will not be taken by them ...").
In early December 1943, Kozin, together with Marlene Dietrich, Maurice Chevalier and Isa Kremer, took part in a concert for the participants of the Tehran Conference. He was awarded the Order of the Red Star.
Since 1945, Kozin's voice disappeared from the air, records were not released. By a special meeting at the NKVD in 1944, he was sentenced to 8 years in Kolyma. Then he was released early in 1950 - for exemplary behavior and good work (in the certificate issued by the camp administration, there is no entry in the column “under which article was convicted”). The singer's biographers note that Kozin served his term easily, was not involved in hard physical labor, worked in the Magadan Music and Drama Theater along with other famous artists-prisoners of Kolymalag. The camp authorities highly appreciated the famous and beloved singer. In the 1950s, he resumed his concert activity, first in Siberia, and then in the European part of the USSR, increasing its former popularity. However, in 1959 he was convicted a second time, and after this release he lived in Magadan until the end of his life, remaining a kind of landmark of the city, a man-legend.
In the 1960s, the songs “Do not frighten me with a bitter fate” (A. Akhmatova), “Only black velvet” (N. Gumilyov), “Do not wake up memories” (K. Balmont), “White snows are falling” (E. Yevtushenko ). In the pre-war and war years, Kozin released more than 50 records at Gramplasttrest, but after 1945 and until the mid-1980s, their reprint in the USSR was officially prohibited.
Vadim Alekseevich died on December 19, 1994 in Magadan. During his life, he created about 300 songs, and his repertoire consisted of over 3000 songs.
Kozin's voice is very pleasant, warm, soft timbre, freely going up, mobile and iridescent. Reminds the voice of Sergei Lemeshev, but more chamber, matte and with a specific nasal tinge. Kozin's singing in his best years (1930-1940s) makes a very great impression due to the most accurate intonation, subtle and insightful feeling of the song material, high musical culture and passion of performance. Kozin is a talented melodic composer, his best songs "Autumn", "Lyubushka" are invariably popular in our time, they are performed by I. Kobzon, N. Nikitsky, T. Kravtsova and other pop masters. Kozin is a well-known popularizer of the gypsy camp song culture, but he compares favorably with other gypsy singers in that he sings without the guttural howl, grotesque and bad taste usual for gypsies, but uses the bel canto style.