[000:00:00;00] i arrived, my parents brought me, all the girls love yesenin, so i come out to this shore, it’s beautiful, i see aku, i understand why he wrote such poems, only there it was possible , strictly speaking, to write such poems, this air, like this hands are working, it’s a very beautiful, magnificent place, you know, i first came to konstantinovo during the filming of a film about yesenin, and when we arrived, i went out for a walk, went outside the church, and there it was just beginning, a boy of about 10 years old stood up to meet me. 11 with a broken face bleeding simply, right before my eyes i remember meeting my frightened mother, i muttered through my bloody mouth, nothing, i tripped over a stone, it will all heal by tomorrow, i asked him, guy, what are you doing, where did you hit yourself like that, so yes, i decided

to ride my bike down this steep slope. but it’s simply impossible, it’s so cool there, this cool mountain is so incredible , well, this is the first impression, and of course, this open space, which probably gave birth to sergei alexandrovich’s lines, goy you are my dear russia, huts in the vestments of the image , can't see the end and the edge, only the blue sucks his eyes, well, here we are, we went there many times, once there was a wonderful incident, we went there with andrei geogievich bitov, and he sat down near the church, a well-known pebble, he sits and meditates, too, yes, 5 minutes pass, 10, he still sits, 40 minutes pass, we say, something happened, we approach him, we touch him so carefully, and he looks up and says: this is how you wake up as a teacher in an elementary school in

konstantinov, he says , and then we went to drink tea in the house of the landowner kashnoy, who now the house has become the literary museum of anna snegina, this is one of the first museums of literary characters in russia and we met the main curator of konstantinov , lidia alekseevna arkhipova, so we sat on the balcony in the museum, which means this is exactly the anna snegina museum, the former estate of kashina , so we sat and talked, and our actor friends were there too, and there weren’t enough stools to read poetry, because everyone wanted to say so, to climb up and something like that about russia, having understood here, well, here we are talking , so, we are having a cup of tea, and lydia alekseevna suddenly says to us: do you remember this story, that there was some kind of ring that the empress gave to sergei

alexandrovich, we say: well, yes, a ring with an emerald, so, well, sort of, so what, no one saw it, no one heard it, she says, here it is, the legend is becoming reality, there is a ring, we say, how can this not happen, in great amazement, well, in fact, the history of this ring is that so to speak , let's start sytseledy, but the first world war began in in the fourteenth year, everyone began to be called up to the front in the sixteenth year yesenin was called up, but through, so to speak, with the help of defenders , assistants and so on , he did not get to the front, to the front line, thanks to raspotin, well, thanks to various, so to speak, well-wishers, in mainly raspotin, he served as an orderly in the tsarsko-selo military sanitary train 143, her imperial majesty, empress alexandra fedonna, in that 1919 year it is known that he went to the marthmarine monastery, which visited elizabeth

fedorovna. and there, too, i received expensive gifts from her, the gospel from the library, the icon of sergius of radnizh, who these memorials are now kept in the museum, we know, yes, and we saw them when we visited there, so to speak, this icon and here in in the sixteenth year, on the name day of maria feodorovna, the dowager empress and grand duchess maria nikolaevna, a concert was organized in the fedorovsky town, where the infirmary was located, at which yesenin was, so to speak, assigned, and yesenin was invited there, among other famous people, to perform at this concert, so he read poetry, read his russia, maybe some fragment, sergei petrovich, you will remember from the repertoire that sergei alexandrovich read then, well, he could

have already read the same ones: for sure the poems he read to the block, let’s say, play, play the talianochka, raspberry mikha , come out to meet kokovlice, the beauty of the groom, the heart stone glows, the turquoise burns in it, i play the talyanochka about blue eyes, and this or the smell of loose, jerked off, at the doorstep in the bag kvass, two lines, and it’s already clear what wonderful food the peasants had, masturbated is a very tasty food, i often visited the village as a child, every morning, this is lard, potatoes, onions and a lot... a lot of broken eggs, not eggs, and an omelet with milk, mixed eggs were poured, this was masturbated, also with kvass, yes, what are you talking about, well, but sergei alexandrovich’s memories relate to the poem rus, and he noticed that

the empress, after reading these poems, said to him that, sad poems, very beautiful, but sad, i answered her that this is all our russia, and for this performance, which made a strong impression, yesenin was granted a gold watch by the empress , alexandra fedorovna, but the gold watch did not reach him, according to the version, it remained in the pocket of a certain colonel loman, who was then the commandant of the infirmary in the fedorovsky town, but a ring with an emerald, which was also awarded, nevertheless reached him , he received it, it is interesting that in fact there was such a tradition of a salary... by the emperor for some merit, by a cultural figure, namely persney, yes, for example, there, karamziin received a ring

for the history of the russian state, gnedich for translating the iliad, which means dzhukovsky, for all the merits of raising the tsarevich, yes, these rings, by the way, they were included in the form, the official was considered a separate award, and the empresses gave simpler rings. but with simpler stones, they’ll izumerut, a simple pebble, yes, but in any case , so to speak, one way or another, there was this one for the ring, but no one had ever seen it, and he somehow didn’t talk about it, maybe maybe there was no need to advertise the soviet era, so to speak, imperial gifts, maybe so, but i have a feeling that he didn’t really like jewelry, at least not in any of the photographs, no, rings, yes, he has a bow tie, a top hat, with a pipe, he has a cigarette , he exists, but such things, they are usually, if you love, yes, then you are somehow trying to show,

yes, here it was necessary to say a few words, and on july 17, 1916, when yesen was, and served, in the hospital as a nurse , this commandant called him, loman said 20, the royal sisters of mercy are coming to work again daughters, you should greet them with greeting poems, sit down and write. yesein wrote, in my opinion, these verses are simply prophetic and when they arrived on the twenty-second of july, mind you, july 17 is a difficult day, exactly 2 years later, day after day on the night of the 17th they will be... brutally killed in the basement of the yepatevsky house in the city of yekaterinburg, here they arrived, four slender, thin in white clothes, well, birch trees, and he greets with a welcoming poem, bogrovom

sunset, effervescent and foamy, white birch trees, burn in their crowns, my verse greets the young princesses, the meekness of youth... in their tender hearts, where those not pale and sorrowful torments, and not to the one who went to suffer for us, they extend their royal hands, blessing their future hour of life, on on a white bed, in the bright glare of light , the one whose life they want to return is sobbing, the walls of the infirmary tremble, with pity that constricts their chest, pulls them with an irresistible hand to where death puts its seal on the forehead. oh, pray, saint

magdalene, for their fate, you are watching the podcast precious stories, i am its host, catherine varkan, the people’s artist is supporting me today, and we are talking about sergei senin and the interesting things that accompanied his life. we continue our conversation about the ring, here ledia alekseevna we are still sitting. we’re drinking tea on the balcony, so she’s saying, can you imagine, a few years ago , when this museum of anna snegina was already being organized, news suddenly appeared that not far from konstantinov there was, so to speak, this ring , this ring was brought by my second cousin, maria konotopova, yesenin’s second cousin, and said that in

in the twenty-fourth year, yesenin arrived in konstantinovo, went for a walk in the klepika, introduced himself, so to speak, in full glory, and passed by the village of kobylinko, where maria lived, it turned out that maria was getting married, he had no gift, and he gave her this ring as a gift, his generosity knew no bounds, yes, well, on the other hand, he could get rid of it, because it’s impossible to wear, impossible to show, you know, yes, from the royal right hand, he got it. so we took a photo of this ring, that is, this almost the first photo, amateur, not very good quality, but it’s just on those pianos, and that means an examination was carried out there, naturally, there is the coat of arms of the royal family, a crown, that of the royal, well, imperial master, but unfortunately, the emerald turned out to be chrysoprase , but for us it’s a ring, so to speak, well, okay, yes, well, not

so expensive. this is from a memorial thing , it’s amazing in yesenin’s hands, and maybe he carried it in his pocket along with a cookie , you know, oh my god, oh my god, in fact, this cabochon cut is round, it’s usually they just do it to low-quality stones to hide cracks, so maybe not right away, so to speak, but the examination determined, everything was confirmed, so, in fact, maria ivanovna lived a long life, so in the ninety-third year she came to the museum and offered this ring to the museum, and some collectors found out and offered money, but she said that she still wanted this thing to be in the museum, she sold it for some ridiculous money, as

they told me then kilograms... two or three sterlady price, here , well, even now sterled is more expensive, but in principle, it would be enough for you and me to rummage through our pockets, but time has still preserved technical progress, preserved for us another such miracle, but besides, so to speak, some things that are convenient for us , whoever dared made notes of his voices at the beginning of the 20th century, who... centuries, took a photograph, yes, that's it, but in fact, yesenin still made several recordings, you and i know, yes, my favorite recording is the monologue of the flapper from pugachev's poem, and we now we have the opportunity to listen to sergei aleksanovich’s replenishment, this makes a strong impression, i

warn the audience, who hasn’t heard? mad, bloody mud, what are you, after all, or healing the rings, lead me, lead me to him, i want to see this man , i’ve been looking for your sweeper for three days and three nights, the clouds of the north fell in a stone pile, thank him, he didn’t even peter, the mob loves a girl, for violence and success, i wandered along the paths for three days and three nights, i wandered along the paths, i dreamed of luck with my eyes, the wind clung to my hair like straw, and

i wrapped the rain in flails, but my embittered heart will never get lost, this head of my neck , it’s not easy to hit, the orrenburg halls, the red-haired camel, the dawn zhanyala, not a mouthful of milk, and the cold, pricking, howl through the darkness i pressed like bread to those exhausted by the age, lead me, lead me to him, i want to see this man. and it’s absolutely amazing, it’s so dissonant with his appearance, so angelic, yes, when i first heard his voice, i even had his voice, well, somehow i imagined it was a little different, but it’s an absolutely amazing impression, so i noticed it, maybe

maybe you will agree with me that when you get to know the greats, yes, somehow you get closer to them, it’s very contagious, and you fall into some kind of addiction, then suddenly you notice that you... rolling up your sleeves, pulling up your pants, working tirelessly for your idol hands and you can’t stop, what i mean is that you starred in the film , played yesenin, and after that, it means there was no end to your work, you decided to organize a museum, you did it, and you’re still doing all this, not laying down his hand, that is, this is some kind of contagious disease, sergevich, tell me, that means, on the old arbat... the museum is located in the house, in the apartment where he lived with his first, actual civil, as we say, wife anna izryadnova, tell me a few words, uh, apartment where

he lived in the communal apartment, uh, house 44, sitting, in apartment 14, the whole house was given over to the employees of sytin’s printing house, and there , in all the apartments and even in the apartment, as i found out, yesenin’s friend lived, to whom he came, should i say there, i was already familiar with these descendants, and when i arrived, he says, yes, here is the table where yesenin sat with my dad, this is the table with me today , you immediately took it under your arm, of course, first of all, how could i step away from this table, i have it here catherine did not take up the creation of the museum, but i was spurred on by another idea: alexander pushkin lived in this courtyard at different times , andrei bely was born there,

stayed there when he came to moscow, alexander barbat lived on duty in 51 houses, lived there in this courtyard and vladimir solovyov was such a mystic poet, so i took it, although they warned me, they say you will lose your health, but nothing will work out, i know, i didn’t lose everything , it worked out, in my opinion, sergevich, i know that you brought us an interesting thing, an incredible precious relic, this is a postcard, which is a copy, a photocopy from that postcard, because... this is the fifteenth year and it was sent from the village of kuzminskaya, and kuzminsko is just a continuation of the village of konstantinov, it ’s one long, big village, from there, here’s

stempel, kuzminskaya , he sends it volunteer sasha, who worked in a magazine for everyone. it was called a magazine for everyone, that’s what it says here, it’s written here, here’s a volunteer , dear sashka, i would have spanked you by your veils, but you won’t get me, why did you promise to write a letter, but you just hunkered down, it’s not good, brother, i go every day in the meadows in the ravine, i play rain, the other day they beat me, it’s great. i almost broke my head, you know, i put an axal bonus on the headman, but one night he sang and hummed it, the social workers grabbed me and, well, drag me, i still have them all i’ll get it, i’ll catch it, they’ve broken my shower , now hold on, there’s a recruit for me, and

the men are afraid of us, dear sashka, write quickly, say hello to anna karlovna, anna karlovna was the editor of this. for everyone, take the example of my detractors, they wouldn’t give us half a ruble for poetry, or they wouldn’t go around and fight like heifers, this is very petty here, petty, petty, attributed, i, of course, i really valued this postcard, but i i couldn’t keep her with me, because she still had to return to where she was from, so i not only don’t regret it, i’m very glad that she. well after all, you also have family things there, as museum workers say, that is, things that belonged to the hero, so i know that there is

a razor, right? it all started with this, this is the ninety-fifth photograph, also an amateur one, two small pencil cases for straight razors, there was this razor, but there was also a soap dish there, and there were just a few objects, i found out, it was the ninety-fifth year, that there is one in st. petersburg yasenin's razor, i don't know anything else, how to find it? st. petersburg, the city is not small, i ask the artists, he says, he heard, he didn’t hear, no one heard, one artist says: you know, i think they showed it on tv, the circle is already narrowing, i’m on st. petersburg television, and they say, yes, there was such a thing, they showed who it is, he says , boris nikifovich, yar kravchenko, came and brought this shaving device and showed it on tv, they gave me a phone number, i’m calling. this is his son stanislav borisovich. you kept

the razor your dad used on television. yes, well, let's get acquainted, come, and i came with performance, come to the performance, he watched the performance, the next day we met. and when i came to their home , to stanislav borisovich kravchenko. i learned that there was, firstly, anatoly yar kravchenchenko, people's artist of the ussr, even with whom nikolai alekseevich klyuev was very familiar, and in general this living room reminded me of a room that was dedicated to the poet klyuev, nikolai alekseevich, here he is depicted here, on the right, with whom he became friends, one of the first, first was

gorodetsky, and gorodetsky had already met klyuev, him, they even performed together, but then their paths quickly diverged, although klyuev believed that he raised yesenin, no, this is not true, yasen, like those buddhists, went his own way , like a rhinoceros. , did not replace anyone, from him, he... if you needed something better to take, he, he took it and quite quickly, like a sponge, absorbed it, from these same emojiists, who, in general, were not very good for him, a single genius , singular fame, such individuality, such, well, it’s no coincidence that the blog, when they say, today i have ryazan guy, the poems are fresh, vociferous, verbose, he put a full stop and wrote the most precious word for a poet, language. all the poet was successful if he had his own language, his own world, his own figurative structure, if

you want, that’s how he was, sergei aleksandrovich yesenin, well , as a matter of fact, as far as i understand, he gave this device to klyuev, and even during in 1924, when we met, we were talking about what you’re saying, you’re playing the fool, kolya, what a... kitish, russia is bleeding, and you’re still looking for some kind of, you know, you have completely different tasks there there must be, what are you writing about, give up your old believers, shave your beard, handed it to him, and at the same time handed it to him, since this is written in their newspaper, they published what i saw, that in this family the klyuevs are very respected, and even on the suitcase, which... klyuev, it is written, on these copper

plates, not tablets, they are, of course, metal plates, and also a very beautiful crystal glass, it was a gift to me, a woman brought a crystal glass, she came to my museum, she looked, i gave a tour, showed her everything, so she says, well i didn’t come to you empty -handed, you know, ilya or schneder gave my father this... this glass from a cookie box, well, packed in cloth, she brought this glass to the koto on the lid of this cookie box cookies, a pasted sheet of paper and the hand of ilyich ilvich schneider, the director of the asidor duncan school, from the twenty-first, he writes there in the forty-ninth year, i think that the school existed for 28 years and even during the war, can you imagine, from these glasses with cider and duncan drank, no, he says, he writes there, just describes, he says, i brought this crystal glass from home

to be cleaned up, it stood in a glass slide in the room of asidor duncan, he says: “i loved this glass , i always drank from it and even the years were marked with years and that he would, and i with him i knew ilya ilvich, schneider, he was already, this was the tenth year, he passed away in the seventy -eighth, so he gave this glass to his friend then, and his friend’s daughter brought it to me, with this description, and such a primitive question , and the amount of liquid there, how much... is it it looks very solid, it’s like this, but i tried it on, i wouldn’t be a museum worker, 50 g, in total, oh, modestly, you could drink vodka straight from this glass, i ’ll tell you even longer, seryozha without

rukov, when he was getting ready to play, was already on the eve of playing yesenin in the cinema, he came to me, says petrovich, let me drink this glass, he asked, yes, he asked, from the museum, and he drank, took communion, that’s what i like to do in the museum , not in the sense of drinking, but touching some things, wonderful, you still have wonderful, remarkable things, oh which i would like to talk to, and we will show it, this is a spoon, yes, a silver spoon , which idilia zinovievna gave to me, she was the widow of tolstoy’s great-grandson, she came to the museum to see me and looked at it, then

i decided to give this silver spoon, this silverware . aleksanovi. we continue the conversation, our guests today are people's artist petrovich nikanenko and i am the presenter ekaterina varkan. we move on to the next page of our story, sofya andreevna is the last official wife of sergei alexandrovich. she tells this story, well, not their acquaintance, but their, so to speak, kind of developing relationship. as far as i understand,

she transferred this story to the literary museum, along with a certain thing. which we will now tell you, she says that in june of the twenty-fifth year they were walking with yesenin around moscow, that’s who forgot, then in moscow there were a lot of wandering musicians, puppeteers, organ grinders, fortune tellers, but sofya andreevna says that some fortune teller came up to them, a parrot for uh, yesenin pulled a ring out of his hat , a bronze, small ring, and that means... this ring was given to sergei alexandrovich , and this is like such a sign, two young people are walking, this means a man pulls out a parrot ring, we have photographs of this ring, that’s about it she is everything she said when she was already donating this ring to the literary museum, i think yesenin also wrote poems about this, as you just called sharmanka, i remembered this

poem, yes, yes, yes, and on september 18, yesenin married sofia tolstoy, maybe let's listen to a poem about a parrot, read it? of course, because sergei aleksandrovich dedicated a poem to this plot, and in fact, i immediately remembered this poem, when you say the word sharmanka, yes, there is a reference to yes, yes, yes, yes, apparently, this is how it has been done forever, to having gone crazy for thirty years, i’m increasingly burned out. koleki, we keep in touch with life. darling, i’m soon turning 30, and the earth is getting shallower every day, that’s why my heart began to dream that i was burning with pink fire, if i’m burning, then i’m burning, burning, and it’s not for nothing that

flowers get stuck, i took out the ring from the parrot, a sign of that , that together on... to burn, the gypsy put the ring on me, took it off my hand, i gave it to you, and now, when the barrel organ is sad, i can’t help but think, let it ring, a swampy feeling is wandering in my head, rime and darkness are in my heart, maybe you gave it to someone else with a laugh, maybe , kissing until dawn, he asks you himself, like a funny, stupid poet, did you lead to sensual poetry, well, well, this too will pass... only bitterly

to see life and the region for the first time, such a hooligan was deceived by a damned parrot, thank you, but this is a description of that moment in the life, life period of sergei alexandrovich, summer, early autumn, you know, somehow he already felt that he had experienced so much for... how many roads have been traveled, how many mistakes have been made, these are lines from his own, so he already felt his age, he was already wise, beyond his years, but you know what i feel, i keep remembering that balcony from which we started, and there were many photographs shown, local residents, children of the local village children, relatives, uh, well, the people with whom yesenin lived, spent his childhood, i had some feeling that he was an alien, some kind of, that is, he seemed to have been abandoned there from somewhere, because he different from them in everything, they are good, they are

good, but he is completely different, all the time you confirm, my thought, asinka will still give birth to oranges, and sometimes, you know , this was noticed by the priest of the village of konstantinov, the rector of the church of the kazan icon of the mother of god, father... ivan, who said to yesenina’s mother, tatyana fedorovna: “take care of the boy ". and when he said, when yesenin was 5 years old, he said, what is it, father ivan, he says, you know, i have four villages in a row who don’t come to confession, i can’t compare your boy with anyone, he’s absolutely amazing at confession. this is where poetry comes from, it seems to me, but incredibly confessional, he is so. decorates neither himself, nor events, nor, nor, conflicts, not joyful , days of his life, everything about him, you know, is incredibly true,

an alien, again there is another saying , an apple from an apple, so i have a feeling that some kind of apple from this apple tree, it flew somewhere into space, and then god fell all over the place, so he writes about this apple in the confession of a hooligan, not everyone can sing. look at the picture, but he is from the peasants, a peasant, yes, he married a countess, got ring of the empress, but died in december 25 by a russian poet, you watched the podcast, valuable stories, i am the presenter ekaterina vaarkan visiting me, people's artist of the rspsr petrovich nikanenko, together with sergei alexandrovich

yesenin, a russian poet, thank you, roman karmanov, in our guest jazz musicians: igor butman, oleg akuratov. i wanted to ask igor to introduce oleg akuratov the way he does on stage when he introduces his musicians. this is a separate part of a usually concert, absolutely brilliant, and no one will do it better than butman. he is unique, uniquely talented, uniquely educated. well-mannered, very pleasant person, oleg akuratov, whom i first saw, well, we saw each other, yes, where did we see each other, the first time, the first time, i came to your club, once you came to my club, yes,

when you were very little , yes, but not quite small, for me it was 2005, i was about 14 or 15 or 16 years old, maybe, maybe you can come out, you can, you can come to me, so he came, i didn’t even have time to understand anything. a then there was an international jazz competition in rostov on dana, where oleg was one of the competitors, naturally, as soon as he started playing, it was clear that this grand prix would immediately go to oleg akuratov, nikolai levinovsky and me. a wonderful pianist, an outstanding composer, a fattener, they shed a man's tear, because we, because when you see such talent, you just, well , it touches you, you know, when our, this athlete borzakovsky won the olympic games, in my opinion, in 2004, and when he overtook everyone, so to speak, all the people in the world, at that moment the best, then there is also such pride, and from this pride, i always have such...' tears of joy, as

the famous hero said, and so we saw the same thing in oleg and we both have such a trace , and then of course, a musician who sings knows great music, the history of music, plays classics, plays jazz, knows folk songs, sings in all the languages ​​of the world, so it’s impossible to imagine him, that’s not the way i imagine him, that’s what it means you met, i just want to come see you, live you can meet a jazz legend, you can, you can, this is me for... then in general you don’t even have to say hello, well, this is an appeal to talented people, by and large, since we are talking about the creative industry, we need to be, we need to be proactive and not be afraid of what they won’t see you, they won’t understand you, if you are talented, they will notice you, but we have such a country that our talents are noticed mainly, if you are doing something, so to speak, doing a creative type of activity, so to speak, then you are -first you do it because you you love, and if you love, you want

to convey this love. other people, and you, and the continuation of the celebration of the centenary of jazz accommodates 50 regions, there can be so much more experimentation, where young musicians can throw in some new, completely unexpected solutions, we are absolutely looking for them, we are open very, very open , and not only me, i do everything, i can’t do everything, but oleg can tell me, igor, there are some guys playing this, i would like to do it there, there are a lot of projects that. folklore music, folk music, there are musicians from tuva, and a jazz orchestra, a tuva jazz band , they play there with their own national flavor, it’s very, yes, different, different, other regions, other republics, and it’s you who come there and there you have a synthesis with these, we celebrated there, we also celebrated the centenary of jazz, we also performed with this orchestra, i performed in the place, played both the ranges that i brought, and the ranges that they made themselves, connected with stuinskaya, with tuvinskaya.

music, wherever we have been, and we always someone, especially now, when it was our centenary, it was just our condition that they be with us in a big concert, where there were jazz stars, larisa dolina, oleg akuratov, fontini, evgeniy pobozhiy, then there were the guys, the local ones, who are playing, who are the best, we selected them, watched them play with them, after that we naturally give him the opportunity to come to the festivals that we do, now is such an interesting time when... few people can say unequivocally what the russian music industry is, i i mean popular, popular, 10-15 years ago it was still possible to give an answer, there were some projects that brought together the best pop-partists, now the situation is a little bit not very obvious, there is such an opinion , it seems to me that it is already widespread that a new russian music industry should emerge. which will be based precisely on

our best examples of national music, but the question is who should do it, where should it come from, who should make the kind of music based on yakut music that will listen to all of russia, who will be based on tuvan music, also make sure that we begin to use these national motifs in music, yes, of course, try to move a little away from the west, well, the west is also in a musical sense, correct, but integrate our russian music as much as possible, we have many nationalities, a lot of things can be integrated there, that’s when we will be able to make sure that our russian music has its own face based on national motives, as you think, well, this will happen over time, i think that someone will do it, naturally, maybe let’s say we’ll do it there, or someone else will do it, well, this is an open question, you know, the jazz industry, which at the moment has become, it’s not... big , it is very small,