{"id":1860,"date":"2016-10-27T14:51:52","date_gmt":"2016-10-27T14:51:52","guid":{"rendered":"http:\/\/altocd.com\/northernflowers\/?p=381"},"modified":"2024-01-24T00:34:21","modified_gmt":"2024-01-24T00:34:21","slug":"nfpma9925","status":"publish","type":"product","link":"https:\/\/altocd.com\/northernflowers\/product\/nfpma9925\/","title":{"rendered":"Alexander Constantinovich Glazunov Complete Songs and Romances"},"content":{"rendered":"

Victoria Evtodieva<\/strong>, soprano (11 – 18, 20, 23)<\/p>\n

Lyudmila Shkirtil<\/strong>, mezzo\u2013soprano (1, 3, 4, 17, 25 \u2014 29)<\/div>\n
Mikhail Lukonin<\/strong>, baritone (1, 3, 4, 17, 25 \u2014 29)<\/div>\n
Yuri Serov<\/strong>, piano (1 \u2014 29)<\/div>\n
<\/div>\n
Recorded at the St. Catherine Lutheran Church, St. Petersburg, December 2003, February & May 2004<\/div>\n
Sound recording and supervision: Alexey Barashkin<\/div>\n
Text: Northern Flowers<\/div>\n
English text: Sergey Suslov<\/div>\n
Cover design: Anastassiya Evmenova<\/div>\n
<\/div>\n
Published by the A.K. Glasunow Charity Foundation for Culture and Enlightenment (Munich, Germany)<\/div>\n
Alexander Glasunow-Stiftung, Am Perlacher Forst 190, 81545 M\u00fcnchen<\/div>\n

 <\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
<\/td>\n1888\u20131890<\/td>\n<\/tr>\n
1.<\/td>\nFrom Hafiz (Don\u2019t be lured by warlike glory\u2026)
\nWords by A.\u00a0Pushkin<\/td>\n<\/tr>\n
2.<\/td>\nThe Belle. Words by A.\u00a0Pushkin<\/td>\n<\/tr>\n
<\/td>\nTwo Songs to Words by A.\u00a0Pushkin, op.\u00a0 27<\/td>\n<\/tr>\n
3.<\/td>\nOriental Romanza<\/td>\n<\/tr>\n
4.<\/td>\nSong (Why do I not hear the roar of joy?\u2026)<\/td>\n<\/tr>\n
<\/td>\n1898
\nSix Songs, Op.\u00a059<\/td>\n<\/tr>\n
5.<\/td>\n5. The Muse. Words by A.\u00a0Pushkin<\/td>\n<\/tr>\n
6.<\/td>\nFrom Petrarca (We Used To Live At The Foot Of A Hill\u2026)\u00a0Russian version by Ap.\u00a0Korinfsky<\/td>\n<\/tr>\n
7.<\/td>\nFrom Petrarca (When Your Eyes \u2026)
\nRussian version by Ap.\u00a0Korinfsky<\/td>\n<\/tr>\n
8.<\/td>\nYou Want To Love \u2026 Words by Ap.\u00a0Korinfsky<\/td>\n<\/tr>\n
9.<\/td>\nDelia. Words by A.\u00a0Pushkin<\/td>\n<\/tr>\n
10.<\/td>\nThe Sky\u2019s All Silver \u2026 Words by Ap.\u00a0Maikov<\/td>\n<\/tr>\n
<\/td>\nSix Songs, Op.\u00a060<\/td>\n<\/tr>\n
11.<\/td>\nThe Grace Cup. Words by A.\u00a0Pushkin<\/td>\n<\/tr>\n
12.<\/td>\nDesire. Words by A.\u00a0Pushkin<\/td>\n<\/tr>\n
13.<\/td>\nThe Nereid. Words by A.\u00a0Pushkin<\/td>\n<\/tr>\n
14.<\/td>\nDream. Words by A.\u00a0Pushkin<\/td>\n<\/tr>\n
15.<\/td>\nMy Life Is Still Before Me \u2026 Words by Ap.\u00a0Maikov<\/td>\n<\/tr>\n
16.<\/td>\nNear The Land Where Golden Venice Reigns \u2026 Words by A.\u00a0Pushkin<\/td>\n<\/tr>\n
<\/td>\n1900<\/td>\n<\/tr>\n
17.<\/td>\nHey You, My Free Song! A Duo. Words by P.\u00a0Seversky<\/td>\n<\/tr>\n
<\/td>\n1905<\/td>\n<\/tr>\n
18.<\/td>\nMasha Is Told Not To Cross The River.\u00a0Words of a traditional Russian song<\/td>\n<\/tr>\n
<\/td>\n1916<\/td>\n<\/tr>\n
19.<\/td>\nShakespeare\u2019s Sonnet LXVI (\u201cFor Restful Death I Cry\u2026\u201d)
\nRussian version by A.\u00a0Kremlev<\/td>\n<\/tr>\n
20.<\/td>\nNina\u2019s Song. Op. 102, from the music to The Masquerade<\/i>, a drama by M.\u00a0Lermontov<\/td>\n<\/tr>\n
<\/td>\nYoung years
\n1881\u20131882<\/td>\n<\/tr>\n
21.<\/td>\nStifling! Words by H.\u00a0Heine; Russian version by N.\u00a0Nekrasov<\/td>\n<\/tr>\n
22.<\/td>\nSpanish Romanza. Words by A.\u00a0Pushkin<\/td>\n<\/tr>\n
23.<\/td>\nWhenever I Hear Your Voice \u2026 Words by M.\u00a0Lermontov<\/td>\n<\/tr>\n
24.<\/td>\nMy Songs Are Venomousv\u2026 Words by H.\u00a0Heine,
\nRussian version by N.\u00a0Dobrolyubov<\/td>\n<\/tr>\n
<\/td>\n1881\u20131885
\nFive Songs, Op.\u00a04<\/td>\n<\/tr>\n
25.<\/td>\nTo Your Snow\u2013White Bosom\u2026 Words by H.\u00a0Heine,
\nRussian version by N.\u00a0Dobrolyubov<\/td>\n<\/tr>\n
26.<\/td>\nThe Nightingale. Words by A.\u00a0Koltsov<\/td>\n<\/tr>\n
27.<\/td>\nWhen I Look Into Your Eyes. Words by H.\u00a0Heine,
\nRussian version by M.\u00a0Mikhailov<\/td>\n<\/tr>\n
28.<\/td>\nArab Melody. Words from a traditional song<\/td>\n<\/tr>\n
29.<\/td>\nSpanish Song. Words from a traditional song<\/td>\n<\/tr>\n
<\/td>\n\n

Total time 67:04<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
\n
Providence proved to be extremely benevolent to Alexander Constantinovich Glazunov. He was born in 1865 into the happy family of a well\u2013known Petersburg book publisher, in a large and cozy house, with his parents\u2019 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.<\/div>\n
The First Symphony written by Glazunov at the age of 16 (after 18 months of studies with Rimsky\u2013Korsakov) and performed on March 17, 1882 during a concert of the Free School of Music under Balakirev\u2019s 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 \u201cis a composer fully equipped with talent and knowledge\u201d. The composer himself shyly came out to bow in his na?ve tunic of a secondary school pupil. The same year, Rimsky\u2013Korsakov 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\u2019s recognition abroad.<\/div>\n
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\u2019Korsakov) and performed on March 17, 1882 during a concert of the Free School of Music under Balakirev\u2019s 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 \u201cis a composer fully equipped with talent and knowledge\u201d. The composer himself shyly came out to bow in his na?ve tunic of a secondary school pupil. The same year, Rimsky\u2013Korsakov 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\u2019s 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 \u2013 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.<\/div>\n
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.<\/div>\n
The peak of Glazunov\u2019s composing was reached in the late 19th and early 20th century. It was then that he created his ballets of astounding beauty (Raymonda<\/em>, 1897, Les ruses d\u2019amour<\/em>, 1898, and The Seasons<\/em>, 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.<\/div>\n
Glazunov died in 1936 in Paris, where he stayed from 1928 \u2018on leave\u2019 off his office as Director of Leningrad Conservatoire by permission of the Soviet Government (being in fact an \u00e9migr\u00e9). 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.<\/div>\n
He always went his own way in music. Being Rimsky-Korsakov\u2019s close friend and follower, Glazunov had as well a sincere liking for his \u201cMoscow opposition\u05c6, 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 \u2013 romantic excitement, exultant air, liveliness.<\/div>\n
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\u2013Korsakov, affinity to colorful and virtuoso orchestration in the first place. The epic beginning of many works of Glazunov reminds the best pages of Borodin\u2019s works. He shared Tchaikovsky\u2019s lyrical attitude, and of course, Taneyev\u2019s commitment to detailed polyphonic development.<\/div>\n
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.<\/div>\n
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 \u2018pure\u2019 genres such as symphony, quartet, instrumental concertos, and ballet music.<\/div>\n
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\u2019s poems \u201cAs Soon As The Night With Its Veil\u201d and \u201cNo, It’s Not You I Love So Ardently\u201d) 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.<\/div>\n
Performer\u2019s remarks<\/strong>
\nFrom Hafiz<\/b> and The Belle<\/b>, 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<\/i> openly displays the intention to sophisticate the composing language. Unexpected modulations, and abundant minor \u2018details\u2019 in the piano accompaniment indicate laborious search in the art of songwriting. Interestingly, the same Pushkin\u2019s poem attracted the attention of Rimsky\u2013Korsakov seven years after.<\/div>\n
The two songs to words by A.S. Pushkin (op. 27) are among the best pages of Glazunov\u2019s vocal music. Why Do I Not Hear The Roar Of Joy? <\/b> 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 \u2018Bacchic\u2019 color. As to Oriental Romanza<\/b> (\u201cMy Blood Is Burning With Desire\u2026 \u201d), it is really a soft sensation in Russian music. Glinka’s famous masterpiece to the same verses – resiliently rhythmic, excited, and dashing \u2013 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.<\/div>\n
The twelve songs, op. 59 and op. 60<\/b>, written in 1898 are undoubtedly the most interesting in Glazunov\u2019s 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.<\/div>\n
Rimsky\u2013Korsakov, 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\u2019s Bride<\/i>. 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\u2013Korsakov had frequently reproached Glazunov for lack of liking for vocal music, and strongly advised him to start writing songs.<\/div>\n
Glazunov did not \u2018argue\u2019 with Rimsky\u2013Korsakov, using the same literary texts (although a few similar intonations (sometimes almost \u2018quotations\u2019) indicate an extremely powerful influence of Rimsky\u2013Korsakov\u2019s vocal style on Glazunov in the late 1890\u2019s). 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<\/i>) suggest that we take a new look not only at Glazunov\u2019s 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<\/i>, and show us some of the inner world of the ever-reserved Alexander Constantinovich.<\/div>\n
Addressing home genres typical for Glazunov\u2019s stylistics can also be seen in Opuses 59 and 60. The composer uses the forms of waltz (Delia<\/i>), mazurka (The Grace Cup<\/i>), elegy (Desire<\/i>), and barcarole (Near The Land Where Golden Venice Reigns<\/i>). 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<\/i> and If You Want To Love<\/i>). 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.<\/div>\n
Dominating in the duo Hey You, My Free Song! <\/b> are the tones of a Russian drawling folk song, but an undeniable influence of the amazing Six Duos, op. 46<\/i> of Peter Tchaikovsky is also felt.<\/div>\n
The arrangement of the Russian traditional song Masha Is Told Not To Cross The River<\/b> ndicates the composer\u2019s deep knowledge of Russian background voice polyphony. It is one of the best samples of this style in Russian vocal music.<\/div>\n
The two 1916 compositions are Glazunov\u2019s last efforts in vocal music. The gloomy colors of Shakespeare\u2019s Sonnet LXVI<\/b> are implemented in a lapidary and somewhat ascetic musical form. The piece definitely contains a special inner strain. Nina\u2019s Song<\/b> from the music to Lermontov\u2019s The Masquerade<\/i> is styled as a \u2018fierce\u2019 home romance, and remains one of the most popular and performable vocal pieces by the composer up to this day.<\/div>\n
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\u2013long one. This is the source of his many selections from Heine\u2019s translations, and of profound affinity to Pushkin and Lermontov as literary \u2018idols\u2019 of Russia\u2019s 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! <\/b>; the exquisite Spanish Romanza<\/b> (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\u2026<\/b> being nearly an imitation of Borodin. (For his<\/i> own song to the same text named \u201cMy Songs Are Full Of Poison\u201d, Borodin had translated Heine\u2019s poem himself).<\/div>\n
The five songs of Opus 4 are selected from the young man\u2019s compositions of 1881\u20131885. They differ much in the expressive power of images and in stylistics. The choice of the poetical base is representative: Koltsov\u2019s 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 \u2018russified\u2019), and two are traditional (Arab and Spanish) texts. Still, the composer was successful in many pages of these early songs. Spanish Song<\/b> and Arab Melody<\/b> deserve a closest attention of performers. In full compliance with the abundant Russian tradition of \u2018orientalism\u2019, they have catching tunes provided with all appropriate \u2018ethnic\u2019 intonations, characteristic resilient rhythms, and passionate narrative \u2018exclamations\u2019; in all fairness, they should prove successful when played onstage. To Your Snow\u2013White Bosom<\/b> and When I Look Into Your Eyes<\/b> lack such striking individuality, but are interesting because of their fruitful research in harmony and format. The Nightingale<\/b> is somewhat detached in this cycle: young Alexander surely knew Rimsky\u2013Korsakov\u2019s 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\u2019s time frame.<\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

1.\u00a0From Hafiz. Words by A.\u00a0Pushkin
\nDon\u2019t be lured by warlike glory,
\nO young and handsome lad!
\nDon\u2019t rush into a bloody battle
\nWith a horde of Karabakh!
\nI know, Death will not have you;
\nAzrail will mark your beauty
\nAmidst battle swords \u2014
\nAnd you will be spared!
\nBut I fear, in all these battles
\nYou will lose forever
\nYour timid modesty of movements,
\nYour charm of languor and shyness!<\/p>\n

2. The Belle. Words by A. Pushkin
\nShe is all harmony, all wonder,
\nShe’s all above the world and passion;
\nShe is reposed diffidently
\nIn her magnificent beauty;
\nShe glances around her
\nSeeing no rivals and no friends;
\nAnd the pale circle of our belles
\nAll fades away in her beams.<\/p>\n

No matter where you’re not hurrying,
\nThough on the assignation,
\nWhat is used in the heart of not fed
\nYou innermost dreams –
\nBut, to meet her, embarrassed, you
\nSuddenly stopped involuntarily,
\npious reverence
\nBefore the shrine of beauty.<\/p>\n

3. Oriental romance. Words by A. Pushkin
\nIn the blood burning flame of desire,
\nThe soul you hurt,
\nKiss me – your kisses
\nI’m sweeter than myrrh and wine.<\/p>\n

Bow down to me, the head of the tender,
\nAnd yes pochiyu serene,
\nWhile dohn\u0451t fun day
\nAnd dvignetsya night shadow.<\/p>\n

4. Song. Words by A. Pushkin
\nWhat smolknul voice of gladness?
\nSeeders, vakhalny choruses!
\nLong live the gentle maidens
\nAnd the young wife, who loved us!
\nPour a full glass!
\nCalls the bottom
\nThe thick wine
\nCherished ring throw!
\nRaising glasses sodvinem them again!
\nLong live the Muses, long live the mind!
\nYou, the holy sun, burn!
\nLike this lamp fades
\nBefore sunrise the clear dawn,
\nSo the false wisdom of the flickers and glows
\nBefore the sun immortal mind.
\nLong live the sun, but darkness will disappear!<\/p>\n

5. Muse. Words by A. Pushkin
\nIn my infancy she loved me
\nAnd the seven-handed me a harp;
\nShe listened to me with a smile, and slightly
\nBy ringing wells empty cane
\nAlready I was playing weak fingers
\nAnd hymns important vnush\u0451nnye gods
\nAnd the songs of peaceful Phrygian shepherds.
\nFrom morning to evening in the silent shadows of the oaks
\nDiligently, I listened to the lessons of the virgin secret;
\nAnd pleasing reward me random,
\nThrowing back the curls from the lovely brow,
\nItself from the hands of my flute she took:
\nReed was quickened by the divine breath
\nAnd my heart is filled with the Holy charm.<\/p>\n

6. From Petrarch (We lived at the foot of the hills …)
\nTranslation An. Corinth
\nWe lived at the foot of the hills
\nAt flowering hillside,
\nWhere the Earth was born Madonna,
\nWhat captivated favorite gods.<\/p>\n

In the midst of fragrant meadows
\nWe did not know the law of bondage.
\nThere was a tent over our horizon,
\nAnd all around us – a garland of flowers.<\/p>\n

But Laura captivated poet
\nWe are caught in a verdant field.
\nAt the hour when dawn comes on.<\/p>\n

His life was not a mile of our share,
\nHe likes it, forgetting a light,
\nA love nor peace, nor will.<\/p>\n

7. From Petrarch (When your eyes …)
\nTranslation An. Corinth
\nWhen your eyes meet mine,
\nIt happens sometimes that the moisture stinging tears
\nReady to show off in them, and a murmur of secret dreams
\nMy heart suddenly freezes with them.<\/p>\n

You smile in the eyes of unearthly,
\nI admire you, forgetting thunder storms;
\nAnd the fragrance of love smelling roses
\nI blows per dreams of gold.<\/p>\n

Cold longing again I am full of all:
\nDo not shine for me your eyes – constellations fatal.
\nAnd for me is dark radiant light of day.
\nTosca my flies on its wings for you.
\nWhy you took my dreams alive!<\/p>\n

8. If you want to love …
\nAn Word. Corinth
\nIf you want to love – to accustom to suffer,
\nThere is no love without suffering in the world.
\nFor a moment the bliss of happiness in a reply
\nEternity – grief immortal mother.<\/p>\n

If you crave suffering – patience and learn;
\nMan by nature is patient,
\nOnly it is necessary to forget about the rush to freedom
\nAnd the ground does not aspire to heavenly heights.<\/p>\n

If you love suffering and put up with loving,
\nDo not think that the sacrifices themselves.
\nGood will you go you thorny path,
\nYou love by suffering indulged himself.<\/p>\n

9. Delia A. Pushkin
\nYou’re my only weapon in front of me,
\nDelia mine?
\nRazluch\u0451n with you –
\nHow I wept!
\nYou’re my only weapon in front of me,
\nOr dream a dream
\nBeguiled me?<\/p>\n

You learned friend eh?
\nHe is not what has been;
\nBut you, my friend!
\nAll are not forgotten –
\nAnd solid dull:
\n“I love there sweet,
\nAs had happened was that? ”<\/p>\n

10. All the silver sky … Words by A. Maikov
\nAll silver sky!
\nAll the silver sea!
\nWarm air is full of moisture.
\nSilence in this world,
\nAs happens in your soul
\nAfter the tears when, on the Nina,
\nHeart meek will master
\nPassion raised a storm,
\nAnd on the pale cheeks
\nOh, ready to climb blush,
\nAnd twinkle in the eyes of the quiet
\nLight of hope and forgiveness.<\/p>\n

11. Drinking song. Words by A. Pushkin
\namber Cup
\nFull of long ago –
\nCarbon foam
\nShine wine;<\/p>\n

Light more
\nHeart of it;
\nBut for whom
\nI drink wine?<\/p>\n

Drink for glory,
\nGlory friends!
\nBran fun
\nLove can not be.<\/p>\n

This fun
\nnot fun
\nFriendship hangover
\nThunder runs.<\/p>\n

Residents of the sky,
\nPhoebe priests,
\ncommon Phoebe
\nDrink, singers!<\/p>\n

Rezvoy Kameny
\nLasky – trouble;
\ncurrent overlaid
\nOthers, water.<\/p>\n

Drink of joy
\nYoung love,
\nHide Mladost,
\nMy children …<\/p>\n

amber Cup
\nFull of long ago.
\nI am grateful –
\nI drink wine!<\/p>\n

12. Desire A. Pushkin
\nSlowly involve my days,
\nAnd every moment in the bleak heart multiplies
\nAll sorrow unhappy love
\nAnd grievous madness worries.
\nBut I say nothing; I do not hear my murmurings;
\nI pour tears; my tears consolation;
\nMy soul, captivated longing,
\nThey are bitter delights.
\nAbout an hour of life! Fly, do not feel sorry for you,
\nGet lost in the dark, empty a ghost;
\nI dearly love my torment –
\nLet them die, but let me die loving!<\/p>\n

13. Nereid A. Pushkin
\nmong green waves kiss Tauride,
\nAt dawn I saw Nereid.
\nHidden among the trees, I barely dared to breathe:
\nOver the clear drops of demi chest
\nYoung, white as a swan, uplift a broad
\nAnd foam from Vlasov jet squeezed
\n14. Dreaming Words by A. Pushkin
\nRecently, deceived lovely dream,
\nThe crown of shining, I’m the king himself is mature;
\nTo dream, I loved you –
\nAnd my heart was beating pleasure.
\nI have a passion at your feet in delight, he expounded,
\nDreams! Oh! why do you not happiness last?
\nBut the gods are not just deprived me now:
\nI just – lost kingdom.<\/p>\n

15. Life is still in front of me …
\nWords by A. Maikov
\nLife is still in front of me
\nAll the visions and sounds,
\nSimilarly, a distant city in the morning,
\nFull ringing, full of shine.
\nAll past suffering
\nI remember with delight,
\nAs steps by which
\nDates back to the light, I aim.<\/p>\n

16. Near the places where reigns Venice A gilded …
\nWords by A. Pushkin
\nNear the places where reigns Venice Gold,
\nOne night rower gondola driving,
\nWhen the light on the seaside Vespera swimming,
\nRinaldo, Golfreda, Hermine sings.
\nHe loves his song, he sings for fun,
\nWithout further intent; He does not know of any glory,
\nNo fear, no hope, and full of quiet muse,
\nIt knows how to delight its way over the abyss waves.
\nOn the sea of \u200b\u200blife, where the storm so violently
\nHaunted in the mist of my sail alone,
\nAs he no reviews consoling me sing
\nAnd the secret love poems to ponder.<\/p>\n

17. Oh, you, song, song of Freestyle!
\nWords AP Seversky
\nOh, you, song, song of Freestyle!
\nLike ptashechka Celestial
\nIn the fields, meadows, as Dubravushka
\nYou fly yourself, carefree.
\nAnd you without melancholy soul lives,
\nHeart beats fervent joy.
\nBeautiful maiden mountain abuts.
\nGood fellow happiness amuse.<\/p>\n

18. Do not let Masha walk across the brook …
\nWords Russian folk song
\nDo not let Masha walk across the brook,
\nDo not let Masha thugs love.
\nI am a youngster then, dear lover,
\nHe did not feel the love no.
\nWhat is love in the world Fuel:
\nWorth Masha tearful eyes.<\/p>\n

19. 66th sonnet of Shakespeare’s death I called, I …
\nTranslated by A. Kreml\u0451va
\nI call death, the rest of my sorrows;
\nI see that the poor man was appointed
\nNot to joy and sorrow to all the people,
\nThe duty of loyalty is lost in them the purest;<\/p>\n

Honor false unworthy to pay tribute,
\nThe dignity humiliated hurt
\nAnd the purity of the soul is corrupted.
\nLame power fettered spirit shameful,<\/p>\n

Forced silent art;
\nThe ignorant, as a scientist, knowledge of the rules,
\nAnd stupidity all modesty began to call;
\nWelcome in the thrall of evil: such consciousness<\/p>\n

Exhausted, I left the earth,
\nWhen it had not been here, my love!<\/p>\n

20. Romance of Nina M. Lermontov Words
\nWhen sadness tear involuntary
\nWill rush at your eyes,
\nI see and understand not hurt,
\nWhat are you unhappy with others.<\/p>\n

The invisible worm invisibly gnawing
\nThe life of your defenseless,
\nAnd what? I am glad that he can not
\nYou love the way I like.<\/p>\n

But if happiness accident
\nBlesn\u0451t in the light of your eyes,
\nThen I am tormented bitter, secretly,
\nAnd a hell in my chest.<\/p>\n

21. Stuffy without luck and will …
\nThe words of Heinrich Heine, translated by N. Nekrasov
\nStuffy! Without happiness and freedom
\nNight of infinite length.
\nStorm looked to, or what?
\nBowl with full edges!
\nGryan over the abyss of the sea,
\nIn the field, in the woods zasvischi,
\nBowl of universal grief
\nAll raspleschi! \u2026<\/p>\n

22. The Spanish romance A. Pushkin
\nNight zephyr
\nThe jets of air.
\nNoise, runs
\nGuadalquivir.<\/p>\n

Here the moon rose Gold,
\nHush … chu … guitar ringing …
\nHere is a young Spaniard
\nLeaned on the balcony.<\/p>\n

Night zephyr
\nThe jets of air.
\nNoise, runs
\nGuadalquivir.<\/p>\n

Throw mantilla, cute angel,
\nAnd stand as a bright day!
\nThrough the cast-iron railing
\nProden marvelous legs.<\/p>\n

Night zephyr
\nThe jets of air.
\nNoise, runs
\nGuadalquivir.<\/p>\n

23. I Hear Your Voice …
\nWords by M. Lermontov
\nI Hear Your Voice
\nVoiced and affectionate,
\nLike a bird in a cage
\nJump by heart;<\/p>\n

The meeting Mademoiselle your eyes
\nSky-deep,
\nSoul to meet them
\nasks from his chest,<\/p>\n

And somehow fun
\nAnd I want to cry,
\nAnd on his neck to
\nThee I ran.<\/p>\n

24. My songs are poisonous …
\nThe words of Heinrich Heine, translated by N. Dobrolyubov
\nMy songs are poisonous.
\nHow not to poison them?
\nThe color of my life bane
\nYou poured me, my friend!<\/p>\n

My songs are poisonous.
\nHow not to poison them?
\nA lot of snakes in my heart
\nYes, even you, my dear friend.<\/p>\n

25. By the breasts of your snow-white …
\nThe words of Heinrich Heine, translated by N. Dobrolyubov
\nBy your chest snow-white
\nI silently bowed his head
\nAnd what do you care about the heart
\nThe beating of his guess.<\/p>\n

Hark! In the city take Hussars,
\nWe heard the sound of their music.
\nAnd tomorrow you leave me,
\nMy dear, wonderful friend of mine.<\/p>\n

Suppose that tomorrow you leave me,
\nBut you’re mine now!
\nToday, in the arms of a cute
\nTwice I want to be happy.<\/p>\n

26. nightingale Words by A. Koltsov
\nEnslaved by the Rose the Nightingale,
\nBoth day and night singing over it,
\nBut rose silently listens to the songs …
\nInnocent dream it embraces …
\nNot lyre as a singer
\nSings for a young virgin;
\nHe is a fiery passion burns,
\nA maiden dear knows
\nWho sings it? From what?
\nSad song because of it.<\/p>\n

27. When I look into your eyes …
\nThe words of Heinrich Heine, translated by M. Mikhailov
\nWhen I look into your eyes,
\nThunderstorm subsides heart;
\nWhen the mouth kiss you,
\nSoul believe in another life.<\/p>\n

When the slopes on your chest –
\nNot on the ground I, and in Paradise!
\nSay “I love you” – and I do not know,
\nWhy so sad wept!<\/p>\n

28. The words of Arab melody of folk songs
\nI can not endure longer pangs of love,
\nOh, my heart is flooded.
\nWho can to me from captivity to return,
\nThat to me will deserve eternal gratitude,
\nThat for me the best one in the world.
\nOh mercy, have mercy on him,
\nAbove the heart unhappy,
\nO thou, my gazelle, you’re so beautiful.
\nOh mercy, have mercy on me,
\nAfter all, I am your servant, your humble servant.
\nYou alone can satisfy my suffering.<\/p>\n

29. The Spanish Song
\nPeople Lyrics
\nYou sleeves, oh dear, his song
\nTosca with my exhausted heart.
\nSing your songs, sing them gently.
\nCharuy me, my dear, his song,
\nSing until them about my life,
\nWhile not lull me
\nYou’re in a sweet slumber.<\/p>\n

Malaga! On the edge of a wonderful, forgive all,
\nForgive the region,
\nWhere I lived so happily and peacefully.
\nAbout forgive you, my dear,
\nAnd with you I part.
\nAnd there will be no rest me more light,
\nDeath is only one will bring
\nI welcome rest!
\nLet your song is heard more tender,
\nLet the strings of the guitar louder rattling,
\nThe first! Know, my dear,
\nWith the sounds of the guitar all the pain,
\nAll suffering cease.<\/p>\n","protected":false},"excerpt":{"rendered":"

NF\/PMA 9925<\/h2>\n

Barcode: 4607053326550
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