white rus' you are mine.

they told him that there, well, they were jamming there, the guys said, you know, you can jam on the piano, he came home, he took off his skin, he became unprotected, open, so much did he trust the people who lived with him, during the performance of this song, his musician friend, sitting next to him, lost consciousness, the gate fell, you are my white russia. the brightest takeoff of the song becomes the dawning hour of the belarusian stage.

the very first recordings of the pesnyary ensemble were made in sakavik in 1970 in the fashionable minsk restaurant kamennaya kvetka. yes, yes that hour of childhood is called lyavonami and the frequent pop music review of the belarusian philharmonic hall is called “lyavonika”. as for the review... it was called lyavonikha, that akampanayuchy kalektyў, so it would be movіts, autamatychna atrymaў “lyavony”. of course, with this revue lyavonikh, the campaign’s members were completely different, but on the contrary, he won such a different role of the campaign, and all the main artists of the revue were completely different people, first that's it, of course, noble prime minister eduard mitsul. uladzimir georgivich mulyavi. we all know this century

with the kindest, most sincere words, and we say that mitsul changed their sleep, gave the songs a chance to a professional life enu. you are my share, mystical, and i don’t regret it, i have a lot. and the most famous and artistic review lyavonikha was lidziya karmalskaya mulyavina, the first wife of uladzimir mulyavina. on vyalik, it’s a pity that only adzina audio records are not great, otherwise we can feel there, as lidzia karmalskaya was born, as they sang, campaigned her young songs, then yashche lyavons. i rage at the wound, you don’t know what

but... on the 1st of june 1969, the lyavons showed their first solo program to the master council of the belarusian philharmonic lyavony khatseli adzyalіtstsa i statsya samostoym 1st the spring of 1969 this is a short review of

the chronicle of the pisnyary ensemble. in minsk, the right of lyavona has already broken down, yashche then.

at the moment of the anniversary of the rise of the company in 1970, the kalyans entered the first all-union variety artist competition in muskva, before which they had to change their name. the ministry of culture did not ask. the name of the lyavons, it was given out that this word is associated with certain high-grade weasels, and all uladzimir mulyavin is the administrator of the library tyshko and misevich, and leanid tyshko the collection of yakub kolas knows all

the jumps in the image of the song, and misevich fell, and all the years have passed s getai bibliateki. in the name of vocals, there were no such names as a vocal instrumental ensemble, but in this all-union competition there was no such thing, and perhaps such a salamonava jumped there. unfortunately, the first prize was awarded to no one,

and the other prize was awarded to the songs of leščanka and herself. the competition's concerts were broadcast on the central television station. little by little, keeping in mind that they were performing in the competition, they began to ask maskwu to perform at the concerts of the great shameful ones, which were broadcast live, and all of them performed on the 4th edition of the 70th year ў office on the blessed day of the savetsk police, and they showed, and it can be said, that while shepherding this era, the next day they became famous. not long ago, as you know the fourth all-union... competition of variety artists has ended. the winners of this competition, the second prize winners, the laureates of the fourth all-union variety artists competition, and the vocal and instrumental ensemble "pesnyary" will perform before you.

at saturday and yanka, going to laraki. the most interesting thing is that in that first lineup there were songwriters who amazed us all, who embraced us. lavin continues to wonder about the new salist. yama was told that in the amatarian vea of ​​the golden

apples there are great, great, great roaches. the end of the architectural future the technical school works for architects at one of the minsk design bureaus. my name is leanid bartkevich. uladzimir georgiyavich requested the ensemble pesnyary in the snows 1970 . and for a few days now i have written a song for him, which has become, as it seems, a cult hit, a cult song hit for many people, alexandrina has never forgotten the song, that day is clear, on the muram darozhtsy.

like with great people, i don’t know what ’s going on, but dad heard something in this

cat tune, he took the guitar and left, his i wasn’t there for several hours, he comes and says: lida, listen, i sang to my mother alexandrina, that’s how this famous song appeared, and lenechko bartkevich sang it a couple of days later on the big stage. alexandra. in 1971, the film “the world guy” was released. the getai have cartsine. at the end, singers and singer leanid bartkevich sang

veniyamin basner’s song “byarozavy sok”. they complained that the public went to these films only to listen to the song “byarozavy juice from the vykananny songs”.

became a national hit. belarusian the folk song in our belarusian language fell asleep and the whole country fell asleep. and because of your strong populace, kassi yas kamyushyn, this song caught the attention of the cartoon “well pagadzi”.

this is already different, i don’t know what will happen, but for me creativity is getting out of your head and creating something that you have there . the purpose of this hall is to distract children from the street, to attract them to boxing, former students, families, returning, now grandchildren, you can already count grandchildren, it’s very nice there, you know. they have a lot behind them interesting stories and ready to surprise again. when i gave the work to viktor ivanovich. kharukova, he looked at her, was silent, then somehow he took it, so oh my god, some children there were already deregistered, they lead a normal, well, normal lifestyle there, let’s put it this way, they don’t do bad things, they became the path of truth is being trained, they have other goals, other tasks, watch the belarusians project on our tv channel.

the pesnyary stood out first of all for some kind of national coloring of their sound, it was immediately it’s clear that this is a belarusian ensemble, of course, all this worked out thanks to mulyavin’s arrangements, it wasn’t just copying some western samples, because, in general, they broke in.

the 70s became the hours of the brightest flourishing of creative songwriting, which was tested by tv presenters, and it became clear that the status of the singer of the vocal-instrumental ensemble in savetsky was strengthened.

he acquired himself vladimir mulyain's laces, amazing, do not offend your loved ones with reproaches,

be afraid of being cruel to your loved ones, very vulnerable, very vulnerable, our loved ones. tickets it was not chronic and absolutely never tickets were sold out within a few days the crowds stood there buying up there was speculation for us it was familiar to everything that the workers came up with, we had such boxes, they were called our favorites, these are the heaviest boxes for microphone stands, they are solid iron , when they loaded it with stands, this big , long box, larger than a person’s height, here they are... that means everyone who wanted to go to the concert for decent rewards was put in there, well, one person at a time, after all, 100 kilograms and constantly

they carried the same box past the uncomprehending guards, unloaded it onto this one, and then unloaded the next one, so, well, 10 people can be carried in a short time, multiply 10 rubles by 10 clients, 100 rubles, this is three times more than ours money that we... and we didn’t know about it for many years, the guys were all fashionable in life, they dressed fashionably on stage, those costumes that they had, many, many costumes, all these are just works of art, all the costumes of the songwriters were designed , original works, artists for each program, or even more than one only the appearance of the costumes, and not...

the purpose is not put away, about how many times have i tried it, the creative team of the songwriting ensemble took off from the great happy periods of the associous people of uladzimir georgievich mulyavin, and then happy. married from lidziya karmalskaya, they were a wonderful family couple, and the darechs, the whole song of the friends, which he wrote in 73 years on the top

of maxim tank, was, so to speak, a master’s father and your patched friends, yakiya yon oy padaravau roof earlier at the end 60s, and in many photographic hazes of that time lidzia karmalskaya... you can listen all the time to these jumping people, such unusual patched henchmen, and then the song has already settled down immediately. when they ask me a question about what the mulyavin was like at home, i want to say that this man came home, he took off his skin, he became unprotected, open, he trusted so much the people who lived with him, his mother, grandmother, he very loved mom. mother, and he relaxed, he enjoyed the peace that the house gave him. igor

luchinok. good evening, girl. kind evening, darling, where are you going, will you tell me good luck, where will you live? good evening, dear daughter, where are you going, tell me a good thing, dzerzhy! the 70th year could be called the era of luchanka and the history of songs, and the main works of igar mikhailavich luchanko jumped up the repertoire of the ensemble. meeting igor mikhailovich at home,

so that it would be calm, no one would bother us, we could talk, but i forgot to make an appointment very early, and our room was in a shared kitchen, we lived with neighbors, my grandmother and i slept on the same bed, here, in my opinion, valera just arrived, mulyavin was sleeping, and his parents were sleeping on the floor, then the door opens, igor mikhailovich comes in, his parents, dad forgot, ma'.

very seriously, trips around polesie, around belarus for folklore, for songs, they were generally friends with igor mikhailovich, such a very lively person, lively, that’s all, this friendship never stopped, it went through the whole life of one another, dad felt igor mikhailovich and igor mikhailovich felt dad, this is probably where their duet happened.

1975, uladzimir mulyavin creates his own significant, the most profound works of life, the opera, the story, the song of the fatherland, after the poem of yanka

kupala, the eternal song, this former paunavartasny performance with scenes and dekaratsyami, the experimental work that has become... not only the most important breaks and for the songs themselves, but vogule for the entire savetsk stage. volodya thought for a long time about the female role, remembering this declaration, this statement that we will never have women, suddenly it appeared. kashyparov she - these were the central parts, the most difficult vocal parts. she lasted for more than an hour, this is not easy work, and physical too, not only creative. one day it rang out.

the stage was such a platform in the shape of a roof, and everything was on this platform, and on this platform the man remembers, i admit the choir, this was a lethal little thing, and all these religious padtexts, of course could not zavolіts this tag of a high-ranking prince, and yon there he screams, he swears, he barks and he says that he doesn’t look like that.

you don’t experience, you only smell the adzin’s wing, that even though my skin is stained, i will live with my husband, of course, this one has already conquered the camisia reception

everything was so clear. mulyavin znou peramog. there was a great amount of such creative achievements from uladzimir mulyavin. that's it, why did my hand get tired and sing musically? so it was with the forgotten, unmagisterial songs of the 50s of volagda, like the songs.

there i will come for an answer, no matter what happens, i will come to my dear. i myself will come for the answer, because the singers were working, at that time i didn’t see at all, even while filming reports for newspapers and magazines, i didn’t see people working in the workshop, as they worked on stage, rehearsals, well... not to mention the concert, it was always clean, beautiful, and yes, by the way,

the rehearsals, i was surprised that some one phrase, or musical, or poetry, they were practiced many, many, many times once, for me it was amazing, it would seem, such a team, professionals, well, they sang, and sang, and played, and so beautifully, and so beautifully, no, vladimir georgievich always insisted that... think , think, tolya, well, there, yes, i’m attacked, so

and in the field of vyarosa, the drama melted, on that byarosis, zyazulya, kuvala. there was a lot of people, more than 50 people passed, and it was such a really good school, pesner’s, when people came already with a special musical education from the conservatory, these were vladimir tkachenko and igor polevoda, then of course there was such a new upsurge in the team, one can already say, of course the classic works of igor polevod.

what is belarus, what is it, what is it , a simple listener of the song of the song, and everything is not understood. songs of partisans, dataman. the name of uladzimir mulyavin is registered in the history

aichynaya stage with zalatymi letarami. the songs turned out to be the true musical sources of light.

it happens, it happens that those who follow us, the streets, the streets are called by our names. sings once, sings twice, sings three times, the little dog sings plaintively,

twenty traditional songs are known among the elements of the intangible cultural decline of belarus.