Description
Victoria Evtodieva, soprano (11 – 18, 20, 23)
| 1888–1890 | |
| 1. | From Hafiz (Don’t be lured by warlike glory…) Words by A. Pushkin |
| 2. | The Belle. Words by A. Pushkin |
| Two Songs to Words by A. Pushkin, op. 27 | |
| 3. | Oriental Romanza |
| 4. | Song (Why do I not hear the roar of joy?…) |
| 1898 Six Songs, Op. 59 |
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| 5. | 5. The Muse. Words by A. Pushkin |
| 6. | From Petrarca (We Used To Live At The Foot Of A Hill…) Russian version by Ap. Korinfsky |
| 7. | From Petrarca (When Your Eyes …) Russian version by Ap. Korinfsky |
| 8. | You Want To Love … Words by Ap. Korinfsky |
| 9. | Delia. Words by A. Pushkin |
| 10. | The Sky’s All Silver … Words by Ap. Maikov |
| Six Songs, Op. 60 | |
| 11. | The Grace Cup. Words by A. Pushkin |
| 12. | Desire. Words by A. Pushkin |
| 13. | The Nereid. Words by A. Pushkin |
| 14. | Dream. Words by A. Pushkin |
| 15. | My Life Is Still Before Me … Words by Ap. Maikov |
| 16. | Near The Land Where Golden Venice Reigns … Words by A. Pushkin |
| 1900 | |
| 17. | Hey You, My Free Song! A Duo. Words by P. Seversky |
| 1905 | |
| 18. | Masha Is Told Not To Cross The River. Words of a traditional Russian song |
| 1916 | |
| 19. | Shakespeare’s Sonnet LXVI (“For Restful Death I Cry…”) Russian version by A. Kremlev |
| 20. | Nina’s Song. Op. 102, from the music to The Masquerade, a drama by M. Lermontov |
| Young years 1881–1882 |
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| 21. | Stifling! Words by H. Heine; Russian version by N. Nekrasov |
| 22. | Spanish Romanza. Words by A. Pushkin |
| 23. | Whenever I Hear Your Voice … Words by M. Lermontov |
| 24. | My Songs Are Venomousv… Words by H. Heine, Russian version by N. Dobrolyubov |
| 1881–1885 Five Songs, Op. 4 |
|
| 25. | To Your Snow–White Bosom… Words by H. Heine, Russian version by N. Dobrolyubov |
| 26. | The Nightingale. Words by A. Koltsov |
| 27. | When I Look Into Your Eyes. Words by H. Heine, Russian version by M. Mikhailov |
| 28. | Arab Melody. Words from a traditional song |
| 29. | Spanish Song. Words from a traditional song |
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Total time 67:04 |
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Providence proved to be extremely benevolent to Alexander Constantinovich Glazunov. He was born in 1865 into the happy family of a well–known Petersburg book publisher, in a large and cozy house, with his parents’ love and care around him. He was endowed with a remarkable musical talent, and a phenomenal memory and ear; abilities glorified in lots of tales and jokes retold by several generations of Petersburg musicians. Thanks to his mother, his gift was noticed very early. The renowned Mily Balakirev and Nikolai Rimsky-Korsakov became his teachers. At the very outset of his creative career, he was greatly encouraged and funded by Mitrofan Belyaev, a timber businessman, passionate music lover, and one of the most important Russian patrons of art.
The First Symphony written by Glazunov at the age of 16 (after 18 months of studies with Rimsky–Korsakov) and performed on March 17, 1882 during a concert of the Free School of Music under Balakirev’s baton, impressed the audience with its clarity, well-finished form, and easy utterance. In his review of the premiere, Cesar Cui commented that the young author “is a composer fully equipped with talent and knowledge”. The composer himself shyly came out to bow in his na?ve tunic of a secondary school pupil. The same year, Rimsky–Korsakov conducted the symphony at the Industry & Arts Exhibition in Moscow. Through efforts of M. Belyaev and Franz Liszt, the opus was performed in Weimar in 1884, which started to promote Glazunov’s recognition abroad.
Inborn modesty, reserve, unaffected manners, unusual diligence and responsible attitude to professional composer The First Symphony written by Glazunov at the age of 16 (after 18 months of studies with Rimsky’Korsakov) and performed on March 17, 1882 during a concert of the Free School of Music under Balakirev’s baton, impressed the audience with its clarity, well-finished form, and easy utterance. In his review of the premiere, Cesar Cui commented that the young author “is a composer fully equipped with talent and knowledge”. The composer himself shyly came out to bow in his na?ve tunic of a secondary school pupil. The same year, Rimsky–Korsakov conducted the symphony at the Industry & Arts Exhibition in Moscow. Through efforts of M. Belyaev and Franz Liszt, the opus was performed in Weimar in 1884, which started to promote Glazunov’s recognition abroad.s work, honesty, and willingness to help – these personality traits of Glazunov made his name a kind of moral purity standard in the musical world of Petersburg and Russia. The years of his directorship at the Conservatoire of Petersburg (Leningrad) (1905 – 1928), which happened to be years of very dramatic historical cataclysms, are still remembered as one of the most bright and efficient in its history.
In the office of director, Glazunov did not compose much, doing all he could for proper functioning of the Conservatoire. Not only did he know every student by name, but also all of their examination programs, constantly attending the classes and exams. After 1917, he had to deal with matters of heating, food allowances for students and professors, and to ‘extort’ funds for maintenance of the institution from the government.
The peak of Glazunov’s composing was reached in the late 19th and early 20th century. It was then that he created his ballets of astounding beauty (Raymonda, 1897, Les ruses d’amour, 1898, and The Seasons, 1899), his Fifth (1895), Sixth (1896), Seventh (1902), and Eighth (1906) Symphonies, the famous violin concerto (1904), both piano sonatas, and his best string quartets. In these years, the most fruitful for him, he composes much, but he also constantly conducts, reads lectures at the Conservatoire, and is engaged in public activity.
Glazunov died in 1936 in Paris, where he stayed from 1928 ‘on leave’ off his office as Director of Leningrad Conservatoire by permission of the Soviet Government (being in fact an émigré). He died after a long and painful illness, having left a colossal heritage of compositions comprising eight symphonies, an immense number of orchestral overtures and fantasias, ballets, works for choir and for choir and orchestra, instrumental concertos, seven string quartets, and numerous ensembles and piano pieces.
He always went his own way in music. Being Rimsky-Korsakov’s close friend and follower, Glazunov had as well a sincere liking for his “Moscow opposition׆, i.e. Tchaikovsky and Taneyev. His creative work lacks search for new ways in music so typical for the early 20th century, and might seem to be stuck in time. He always remained loyal to the ideals of his musical youth – romantic excitement, exultant air, liveliness.
His compositions seemed obsolete to young contemporaries like Prokofiev and Shostakovich. His composing style looked eclectic, as Glazunov absorbed nearly all of the best things in Russian music of those days that surrounded him. He borrowed commitment to Russian folklore from Balakirev, and he had a lot in common with Rimsky–Korsakov, affinity to colorful and virtuoso orchestration in the first place. The epic beginning of many works of Glazunov reminds the best pages of Borodin’s works. He shared Tchaikovsky’s lyrical attitude, and of course, Taneyev’s commitment to detailed polyphonic development.
Glazunov always tried to achieve a synthesis of what he valued in Russian music. He succeeded in elaborating his own creative style, probably not without certain traits of academism, but possessing a high inner integrity. His compositions are nearly always sanguine and optimistic in their musical images, bright in color, clear in form, and diverse in harmony. They are always works of a true master, a composer for whom Beauty was the main criterion of creative achievement.
Vocal music was not a favorite genre of Alexander Glazunov. Just over thirty songs, including those of his youth period, but most of all his dislike of opera, indicate that the composer had no interest in writing for voice. The core and bulk of his heritage is instrumental music. Glazunov’s immense intellect was inclined to exploration of ‘pure’ genres such as symphony, quartet, instrumental concertos, and ballet music.
Romances and songs of Alexander Constantinovich Glazunov are released on CDs for the first time. We selected 29 of 31 finished compositions. The remaining two pieces of his young age (to Lermontov’s poems “As Soon As The Night With Its Veil” and “No, It’s Not You I Love So Ardently”) were left out for one clear reason. They look much less uninfluenced than other songs of the early period of composing. The vocal heritage of Glazunov is still an under-explored stratum of Russian music, and it is to be hoped that this compact disk will find its insightful and attentive listener.
Performer’s remarks
From Hafiz and The Belle, both to words by Pushkin, open the program. These are already quite mature pieces of music. By that time, Glazunov was already author of two symphonies and several orchestral opuses, quartets, and instrumental music. While the first of the two songs is wholly integral and very laconic in its form and tools selected (curious are its resilient ’empty’ intervals hinting at the Oriental color of the poem), The Belle openly displays the intention to sophisticate the composing language. Unexpected modulations, and abundant minor ‘details’ in the piano accompaniment indicate laborious search in the art of songwriting. Interestingly, the same Pushkin’s poem attracted the attention of Rimsky–Korsakov seven years after. The two songs to words by A.S. Pushkin (op. 27) are among the best pages of Glazunov’s vocal music. Why Do I Not Hear The Roar Of Joy? strikes you with sophisticated contrivances in harmony. The composer chose to stylize the piano part to resemble ancient harp. The archaic scales used also add to the ‘Bacchic’ color. As to Oriental Romanza (“My Blood Is Burning With Desire… ”), it is really a soft sensation in Russian music. Glinka’s famous masterpiece to the same verses – resiliently rhythmic, excited, and dashing – was totally revised musically. The young composer plunged the small Pushkin poem into an atmosphere of Oriental comfort and love bliss, emphasized its erotic shades, and probably came nearer to the truth in his musical concept of the poem.
The twelve songs, op. 59 and op. 60, written in 1898 are undoubtedly the most interesting in Glazunov’s vocal heritage. The point here is not that it is virtually the only case when the mature composer addressed the lyrical vocal genre (a few later songs, scattered in time and stylistics, should hardly be considered); what is important is the especially high quality of the pieces, and a special historical context that called these opuses into being.
Rimsky–Korsakov, whose artistic and personal (the latter was even greater) impression on Glazunov is hard to overestimate, wrote over 50 songs in the summer of 1897. He created them after many years of crisis in this genre. There were times when he composed several songs a day, comprehending a new style of vocal composing based on melodized recitative narration, and thus preparing for creation of Czar’s Bride. The poetical substrate of those songs was mainly poems by Pushkin, Ap. Maikov, and Alexey Tolstoy. Without any doubt, the creative quest of his senior friend urged Glazunov to resume working on vocal miniatures, also because Rimsky–Korsakov had frequently reproached Glazunov for lack of liking for vocal music, and strongly advised him to start writing songs.
Glazunov did not ‘argue’ with Rimsky–Korsakov, using the same literary texts (although a few similar intonations (sometimes almost ‘quotations’) indicate an extremely powerful influence of Rimsky–Korsakov’s vocal style on Glazunov in the late 1890’s). Still, borrowing much from him, Glazunov as always advances his own way. What is really the most important in these opuses is a new great lyrical warmness and special cordiality. Some of the songs (When Your Eyes, Delia, Desire) suggest that we take a new look not only at Glazunov’s vocal heritage, but also at his style of composing in general. Deep tenderness, implied passion, elegiac attitude, and soft rhythms of the tunes reveal the author of Raymonda, and show us some of the inner world of the ever-reserved Alexander Constantinovich.
Addressing home genres typical for Glazunov’s stylistics can also be seen in Opuses 59 and 60. The composer uses the forms of waltz (Delia), mazurka (The Grace Cup), elegy (Desire), and barcarole (Near The Land Where Golden Venice Reigns). As in his other compositions, Glazunov is masterful experimenting with ancient scales, for which purpose, most suitable were the poems by Korinfsky (from Petrarca: We Used To Live At The Foot Of A Hill and If You Want To Love). All the twelve songs of 1898 are strongly distinctive, unlike each other, carefully polished, full of vocal splendor, and represent an excellent recital material, which is still so scarcely used in the performing practice.
Dominating in the duo Hey You, My Free Song! are the tones of a Russian drawling folk song, but an undeniable influence of the amazing Six Duos, op. 46 of Peter Tchaikovsky is also felt.
The arrangement of the Russian traditional song Masha Is Told Not To Cross The River ndicates the composer’s deep knowledge of Russian background voice polyphony. It is one of the best samples of this style in Russian vocal music.
The two 1916 compositions are Glazunov’s last efforts in vocal music. The gloomy colors of Shakespeare’s Sonnet LXVI are implemented in a lapidary and somewhat ascetic musical form. The piece definitely contains a special inner strain. Nina’s Song from the music to Lermontov’s The Masquerade is styled as a ‘fierce’ home romance, and remains one of the most popular and performable vocal pieces by the composer up to this day.
The vocal compositions of Alexander Glazunov as a young man are very curious for several reasons. He paid much more attention to songs in the initial years of his composing than in later periods; the earlier pieces allow to trace in detail the development (rapid development!) of the composer’s abilities; the texts of the poems tell us much about the outlook of young Glazunov, and his progress as personality. The composer always kept plenty of books at home, and his passion for reading was a life–long one. This is the source of his many selections from Heine’s translations, and of profound affinity to Pushkin and Lermontov as literary ‘idols’ of Russia’s educated society. Taken on the whole, the initial vocal experiments of Glazunov are very interesting, melodic, and written simply and cordially, after the fashion of the 19th century Russian home romances. The somewhat pathetic, dramatic, and brisk Stifling! ; the exquisite Spanish Romanza (again arguing over one and the same text by Pushkin, but this time, with Dargomyzhsky’s masterpiece); Lermontov’s Whenever I Hear Your Voice, a ‘lovely’ one with a broad vocal part amplitude; and My Songs Are Venomous… being nearly an imitation of Borodin. (For his own song to the same text named “My Songs Are Full Of Poison”, Borodin had translated Heine’s poem himself).
The five songs of Opus 4 are selected from the young man’s compositions of 1881–1885. They differ much in the expressive power of images and in stylistics. The choice of the poetical base is representative: Koltsov’s poem alone, a subtle and airy one, may be referred to as high poetry. The rest are translations. Two of these are from Heine (the Russian translation by Dobrolyubov is very much ‘russified’), and two are traditional (Arab and Spanish) texts. Still, the composer was successful in many pages of these early songs. Spanish Song and Arab Melody deserve a closest attention of performers. In full compliance with the abundant Russian tradition of ‘orientalism’, they have catching tunes provided with all appropriate ‘ethnic’ intonations, characteristic resilient rhythms, and passionate narrative ‘exclamations’; in all fairness, they should prove successful when played onstage. To Your Snow–White Bosom and When I Look Into Your Eyes lack such striking individuality, but are interesting because of their fruitful research in harmony and format. The Nightingale is somewhat detached in this cycle: young Alexander surely knew Rimsky–Korsakov’s borrowing of that same poem of Koltsov, and largely he simply copied his teacher. The two pieces are too consonant in their atmosphere, and in their distribution of the literary material within the music’s time frame.
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1. From Hafiz. Words by A. Pushkin
Don’t be lured by warlike glory,
O young and handsome lad!
Don’t rush into a bloody battle
With a horde of Karabakh!
I know, Death will not have you;
Azrail will mark your beauty
Amidst battle swords —
And you will be spared!
But I fear, in all these battles
You will lose forever
Your timid modesty of movements,
Your charm of languor and shyness!
2. The Belle. Words by A. Pushkin
She is all harmony, all wonder,
She’s all above the world and passion;
She is reposed diffidently
In her magnificent beauty;
She glances around her
Seeing no rivals and no friends;
And the pale circle of our belles
All fades away in her beams.
No matter where you’re not hurrying,
Though on the assignation,
What is used in the heart of not fed
You innermost dreams –
But, to meet her, embarrassed, you
Suddenly stopped involuntarily,
pious reverence
Before the shrine of beauty.
3. Oriental romance. Words by A. Pushkin
In the blood burning flame of desire,
The soul you hurt,
Kiss me – your kisses
I’m sweeter than myrrh and wine.
Bow down to me, the head of the tender,
And yes pochiyu serene,
While dohnёt fun day
And dvignetsya night shadow.
4. Song. Words by A. Pushkin
What smolknul voice of gladness?
Seeders, vakhalny choruses!
Long live the gentle maidens
And the young wife, who loved us!
Pour a full glass!
Calls the bottom
The thick wine
Cherished ring throw!
Raising glasses sodvinem them again!
Long live the Muses, long live the mind!
You, the holy sun, burn!
Like this lamp fades
Before sunrise the clear dawn,
So the false wisdom of the flickers and glows
Before the sun immortal mind.
Long live the sun, but darkness will disappear!
5. Muse. Words by A. Pushkin
In my infancy she loved me
And the seven-handed me a harp;
She listened to me with a smile, and slightly
By ringing wells empty cane
Already I was playing weak fingers
And hymns important vnushёnnye gods
And the songs of peaceful Phrygian shepherds.
From morning to evening in the silent shadows of the oaks
Diligently, I listened to the lessons of the virgin secret;
And pleasing reward me random,
Throwing back the curls from the lovely brow,
Itself from the hands of my flute she took:
Reed was quickened by the divine breath
And my heart is filled with the Holy charm.
6. From Petrarch (We lived at the foot of the hills …)
Translation An. Corinth
We lived at the foot of the hills
At flowering hillside,
Where the Earth was born Madonna,
What captivated favorite gods.
In the midst of fragrant meadows
We did not know the law of bondage.
There was a tent over our horizon,
And all around us – a garland of flowers.
But Laura captivated poet
We are caught in a verdant field.
At the hour when dawn comes on.
His life was not a mile of our share,
He likes it, forgetting a light,
A love nor peace, nor will.
7. From Petrarch (When your eyes …)
Translation An. Corinth
When your eyes meet mine,
It happens sometimes that the moisture stinging tears
Ready to show off in them, and a murmur of secret dreams
My heart suddenly freezes with them.
You smile in the eyes of unearthly,
I admire you, forgetting thunder storms;
And the fragrance of love smelling roses
I blows per dreams of gold.
Cold longing again I am full of all:
Do not shine for me your eyes – constellations fatal.
And for me is dark radiant light of day.
Tosca my flies on its wings for you.
Why you took my dreams alive!
8. If you want to love …
An Word. Corinth
If you want to love – to accustom to suffer,
There is no love without suffering in the world.
For a moment the bliss of happiness in a reply
Eternity – grief immortal mother.
If you crave suffering – patience and learn;
Man by nature is patient,
Only it is necessary to forget about the rush to freedom
And the ground does not aspire to heavenly heights.
If you love suffering and put up with loving,
Do not think that the sacrifices themselves.
Good will you go you thorny path,
You love by suffering indulged himself.
9. Delia A. Pushkin
You’re my only weapon in front of me,
Delia mine?
Razluchёn with you –
How I wept!
You’re my only weapon in front of me,
Or dream a dream
Beguiled me?
You learned friend eh?
He is not what has been;
But you, my friend!
All are not forgotten –
And solid dull:
“I love there sweet,
As had happened was that? ”
10. All the silver sky … Words by A. Maikov
All silver sky!
All the silver sea!
Warm air is full of moisture.
Silence in this world,
As happens in your soul
After the tears when, on the Nina,
Heart meek will master
Passion raised a storm,
And on the pale cheeks
Oh, ready to climb blush,
And twinkle in the eyes of the quiet
Light of hope and forgiveness.
11. Drinking song. Words by A. Pushkin
amber Cup
Full of long ago –
Carbon foam
Shine wine;
Light more
Heart of it;
But for whom
I drink wine?
Drink for glory,
Glory friends!
Bran fun
Love can not be.
This fun
not fun
Friendship hangover
Thunder runs.
Residents of the sky,
Phoebe priests,
common Phoebe
Drink, singers!
Rezvoy Kameny
Lasky – trouble;
current overlaid
Others, water.
Drink of joy
Young love,
Hide Mladost,
My children …
amber Cup
Full of long ago.
I am grateful –
I drink wine!
12. Desire A. Pushkin
Slowly involve my days,
And every moment in the bleak heart multiplies
All sorrow unhappy love
And grievous madness worries.
But I say nothing; I do not hear my murmurings;
I pour tears; my tears consolation;
My soul, captivated longing,
They are bitter delights.
About an hour of life! Fly, do not feel sorry for you,
Get lost in the dark, empty a ghost;
I dearly love my torment –
Let them die, but let me die loving!
13. Nereid A. Pushkin
mong green waves kiss Tauride,
At dawn I saw Nereid.
Hidden among the trees, I barely dared to breathe:
Over the clear drops of demi chest
Young, white as a swan, uplift a broad
And foam from Vlasov jet squeezed
14. Dreaming Words by A. Pushkin
Recently, deceived lovely dream,
The crown of shining, I’m the king himself is mature;
To dream, I loved you –
And my heart was beating pleasure.
I have a passion at your feet in delight, he expounded,
Dreams! Oh! why do you not happiness last?
But the gods are not just deprived me now:
I just – lost kingdom.
15. Life is still in front of me …
Words by A. Maikov
Life is still in front of me
All the visions and sounds,
Similarly, a distant city in the morning,
Full ringing, full of shine.
All past suffering
I remember with delight,
As steps by which
Dates back to the light, I aim.
16. Near the places where reigns Venice A gilded …
Words by A. Pushkin
Near the places where reigns Venice Gold,
One night rower gondola driving,
When the light on the seaside Vespera swimming,
Rinaldo, Golfreda, Hermine sings.
He loves his song, he sings for fun,
Without further intent; He does not know of any glory,
No fear, no hope, and full of quiet muse,
It knows how to delight its way over the abyss waves.
On the sea of life, where the storm so violently
Haunted in the mist of my sail alone,
As he no reviews consoling me sing
And the secret love poems to ponder.
17. Oh, you, song, song of Freestyle!
Words AP Seversky
Oh, you, song, song of Freestyle!
Like ptashechka Celestial
In the fields, meadows, as Dubravushka
You fly yourself, carefree.
And you without melancholy soul lives,
Heart beats fervent joy.
Beautiful maiden mountain abuts.
Good fellow happiness amuse.
18. Do not let Masha walk across the brook …
Words Russian folk song
Do not let Masha walk across the brook,
Do not let Masha thugs love.
I am a youngster then, dear lover,
He did not feel the love no.
What is love in the world Fuel:
Worth Masha tearful eyes.
19. 66th sonnet of Shakespeare’s death I called, I …
Translated by A. Kremlёva
I call death, the rest of my sorrows;
I see that the poor man was appointed
Not to joy and sorrow to all the people,
The duty of loyalty is lost in them the purest;
Honor false unworthy to pay tribute,
The dignity humiliated hurt
And the purity of the soul is corrupted.
Lame power fettered spirit shameful,
Forced silent art;
The ignorant, as a scientist, knowledge of the rules,
And stupidity all modesty began to call;
Welcome in the thrall of evil: such consciousness
Exhausted, I left the earth,
When it had not been here, my love!
20. Romance of Nina M. Lermontov Words
When sadness tear involuntary
Will rush at your eyes,
I see and understand not hurt,
What are you unhappy with others.
The invisible worm invisibly gnawing
The life of your defenseless,
And what? I am glad that he can not
You love the way I like.
But if happiness accident
Blesnёt in the light of your eyes,
Then I am tormented bitter, secretly,
And a hell in my chest.
21. Stuffy without luck and will …
The words of Heinrich Heine, translated by N. Nekrasov
Stuffy! Without happiness and freedom
Night of infinite length.
Storm looked to, or what?
Bowl with full edges!
Gryan over the abyss of the sea,
In the field, in the woods zasvischi,
Bowl of universal grief
All raspleschi! …
22. The Spanish romance A. Pushkin
Night zephyr
The jets of air.
Noise, runs
Guadalquivir.
Here the moon rose Gold,
Hush … chu … guitar ringing …
Here is a young Spaniard
Leaned on the balcony.
Night zephyr
The jets of air.
Noise, runs
Guadalquivir.
Throw mantilla, cute angel,
And stand as a bright day!
Through the cast-iron railing
Proden marvelous legs.
Night zephyr
The jets of air.
Noise, runs
Guadalquivir.
23. I Hear Your Voice …
Words by M. Lermontov
I Hear Your Voice
Voiced and affectionate,
Like a bird in a cage
Jump by heart;
The meeting Mademoiselle your eyes
Sky-deep,
Soul to meet them
asks from his chest,
And somehow fun
And I want to cry,
And on his neck to
Thee I ran.
24. My songs are poisonous …
The words of Heinrich Heine, translated by N. Dobrolyubov
My songs are poisonous.
How not to poison them?
The color of my life bane
You poured me, my friend!
My songs are poisonous.
How not to poison them?
A lot of snakes in my heart
Yes, even you, my dear friend.
25. By the breasts of your snow-white …
The words of Heinrich Heine, translated by N. Dobrolyubov
By your chest snow-white
I silently bowed his head
And what do you care about the heart
The beating of his guess.
Hark! In the city take Hussars,
We heard the sound of their music.
And tomorrow you leave me,
My dear, wonderful friend of mine.
Suppose that tomorrow you leave me,
But you’re mine now!
Today, in the arms of a cute
Twice I want to be happy.
26. nightingale Words by A. Koltsov
Enslaved by the Rose the Nightingale,
Both day and night singing over it,
But rose silently listens to the songs …
Innocent dream it embraces …
Not lyre as a singer
Sings for a young virgin;
He is a fiery passion burns,
A maiden dear knows
Who sings it? From what?
Sad song because of it.
27. When I look into your eyes …
The words of Heinrich Heine, translated by M. Mikhailov
When I look into your eyes,
Thunderstorm subsides heart;
When the mouth kiss you,
Soul believe in another life.
When the slopes on your chest –
Not on the ground I, and in Paradise!
Say “I love you” – and I do not know,
Why so sad wept!
28. The words of Arab melody of folk songs
I can not endure longer pangs of love,
Oh, my heart is flooded.
Who can to me from captivity to return,
That to me will deserve eternal gratitude,
That for me the best one in the world.
Oh mercy, have mercy on him,
Above the heart unhappy,
O thou, my gazelle, you’re so beautiful.
Oh mercy, have mercy on me,
After all, I am your servant, your humble servant.
You alone can satisfy my suffering.
29. The Spanish Song
People Lyrics
You sleeves, oh dear, his song
Tosca with my exhausted heart.
Sing your songs, sing them gently.
Charuy me, my dear, his song,
Sing until them about my life,
While not lull me
You’re in a sweet slumber.
Malaga! On the edge of a wonderful, forgive all,
Forgive the region,
Where I lived so happily and peacefully.
About forgive you, my dear,
And with you I part.
And there will be no rest me more light,
Death is only one will bring
I welcome rest!
Let your song is heard more tender,
Let the strings of the guitar louder rattling,
The first! Know, my dear,
With the sounds of the guitar all the pain,
All suffering cease.
