[000:00:00;00] new reformer, so everyone was scared, i think volodya too, there was a creative , really creative conflict, very good, smart men look up to him, stupidly envy him, even worse, probably, uh, with him in some way conflicts, everything is ready, the texts are the best, i am very worried about him, and i really want there to be people nearby whom he would trust and maybe convey something. because having walked this path i understand that it’s very difficult here alone, and you just can’t stand it, that’s it, guys, that’s it, nothing, everything is fine, ready, well

, that's it, go ahead, then, yes, hurray, they are silent, i was one of the first to run up to the descent module, of course, to see it was an almost red-hot piece of metal in which. three living astronauts, but what are you without flowers? so you didn’t die, because the first thing, you know, what was interesting, they discovered the cosmonauts, they immediately began the filming process, right there, so the first frames, they were filmed right at this very second, and this, of course, these, these are unusual moments in human life

legs, legs. we exist, we must understand the world,

by learning about the world, we get to know ourselves. if you frown, you leave... the house, if you are not happy about a sunny day, let the guy you meet, who is completely unfamiliar with you, smile at you as if he were an acquaintance; a smile, without

a doubt, will suddenly touch your eyes, and the good mood will not leave more than you, if your loved one suddenly quarrels by chance, often the one who loves quarrels in vain, you are in each other’s eyes. look better, better than any words, sometimes looks speak, a smile, without a doubt, will suddenly touch your eyes, and

a good mood will never leave you, someone else was abandoned in misfortune, this act penetrated your heart, remember how many good people

there are, we have many more of them, remember them, a smile , without a doubt, will suddenly touch your eyes, and a good mood will not leave more than you, and a good mood will not leave you anymore, hello, friends, good mood to you, today on the podcast melody of my life, my guest is the people's artist of russia, the legendary jazz guitarist, alexey alekseevich kuznetsov. hello,

uncle lyosha, it’s very nice to see you, kind, good, good afternoon, i have the great pleasure of playing songs to the accompaniment of alexey alekseevich, because he is a real guru of this genre, he is accompanied. manages to make a bad word, manages to do so, just makes you enjoy a very refined, intelligent guitar. alexey alekseevich, with your whole destiny, probably musical, with your whole appearance, you show that you are such a real gentleman of our russian jazz, but of course, i can’t help but ask you about your family, about your dad, because you are a hereditary guitarist, how did you come to they loved this instrument for the rest of their lives, absolutely rightly , before my eyes, life and what was connected with dad passed, it was at home, always, and the guitar, and the look when dad got dressed before the concert, everything was intelligent, tuxedo, frag , and so on

and so forth, so what we see now is precisely the quartet of boris ermilovich tikhonov, which was based in the orchestra of yuri vasilyovich selantiev, in which my father worked, and rehearsals often took place at home, and i saw live, how to do... dad with a guitar, that's right, dad with a guitar, here he is, next to borismilovich tikhonov on the accordion, alexey ignatenko on the clarinet next to him and nikolai stratov on the double bass, also next to us, this is the famous quartet, which was a huge success, and i saw it all live, so the guitar seemed to have poured into me in advance, a long time ago, i was just thinking, how are the chords played, and how does this hand strike? this accompaniment, because here there is a lot of accompanying role of the guitar, uh, i saw it, i took it, it’s very, i like it, alexey alekseevich, well, your life is inextricably connected with cinematography,

with the cinematography orchestra, but now we will perform a song together with the light jazz group, we need to introduce the musicians who will help us, today on drums for you andrey nikonov, double bass igor kondur. accordion alexander faraonovich martirosov, and your humble servant on vocals, today, as always, a song from the movie big ore, it was written by mikhail teraverdiev, by the way, this is his only hit, the hits turned out, but this is the song that was made it was precisely as a matter of urgency that he was reproached for writing only for the cinema, he says, i can write a song in the cinema that will be performed by the whole country, it so happened that maya vladimirovna kristallinskaya sang this song, and poems, by the way, by nikolai nikolaevich dobronravov, let’s perform the song now, and then

we’ll talk about you and movie. so, don't be sad. where. pines, where your home is, there are lakes with living water, don’t be sad, don’t say goodbye. everything is ahead of you and me, don't be sad, don't say goodbye, everything is ahead of you and me, let the cuckoo be silent again, it has no destiny for us

predict, don’t be sad, don’t say goodbye, but come out to meet me, don’t be sad, don’t say goodbye, but come out to meet me , the dawn is on the road, the seas are full of blue light, don’t be sad, don’t say goodbye, because life is invented. and not in vain, don’t be sad, don’t

say goodbye, because life was not invented in vain! there will be joy and there will be sadness , you call me, i will look back, don’t be sad, don’t say goodbye, i will definitely come back, don’t be sad, don’t say goodbye, i will definitely come back. oh, alexey alekseevich, i can’t help but

admire your guitar techniques, i’m like guitarist, sometimes i don’t even understand how this is possible, in each verse there are some different touches, you and alexander faraonvich very delicately created this work, well, here ’s the movie and alexey kuznetsov, this is your guitar, sounds in everyone’s favorite film of tatyana. yes, it happened like that, i actually didn’t know about it, i just, well, work is work, the cinematography orchestra comes every day to record something interesting for the films, but then the phone rang and i was asked to come to mikhail leonovich triverdiev’s home, he asked to come to hand me the guitar part, notes for scoring the film 17 moments of spring, this is the very fragment, alexey alekseevich, yes, yes,

yes, yes, this. the music of mikhael leonovich, which went into the credits, so to speak, probably, most likely, the guitar of alexey kuznetsov, it sounds in every episode, yes, i now remember what guitar i recorded on, not this one, well, it’s not so important, in this case it is the performance, as such the mood, yes or at the beginning. it sounds, but it is far from the only piece of music where we hear the guitar of alexey kuznetsov, this is a cruel romance, there was a cruel romance, and gardamarini forward, i remember something later , so to speak, not only in this case, you can tell from the movies, but from the composers, the guitar of iudison denisov sounds.

sofia gabaidulina, andrei petrov, andrei yakovich shpay, murat magomedovich kozhlaev , these were all composers in the cinema, i was in contact with them all the time in the creative field, and there was always some piece, somewhere there was always a solo guitar, and this is all reflected in your work, in your life there were orchestras, and small ensembles, that is, as an officially working guitarist, i first worked in the pop-symphony orchestra of vasilyovich selantyev on the radio, this is from sixty-two to seventy-four approximately, then i worked in the kinetography orchestra until the second year of 90, so these are two large groups and a little bit... exactly a year was also connected with a large group under the direction of muslim magamaev, there was such an opportunity to take part, we have a photo of the rhythm section, which, quite rightly, is victor borisovich dvoskin is a bass guitarist, but he is a double bass player, and i’m next to him and there, a little

to the left at the top, viktor yaponeshnikov, this is the drummer, he’s on the right, he’s always on the right, always with us, that too. pavilion shooting like this, well today, relatively speaking, this is claudia ivanovna shurzhenko, it’s fate that it’s so arranged that it happens like this, at the piano boris yakovlevich mandrus, her constant accompanist, ivan ivanovich livanov on the double bass, to me it’s you, how old are you here years old, 19 years old, 19 years old i'm with a guitar from my dad's breech, which is in there was an orchestra, and dad was downstairs with... sheet music, he already has his own guitar, migma, white, like that, he brought it from germany, well, here’s the guitar, alexey aleksevich, your most important love in life, i wouldn’t even want to ask about it’s impossible to compete with her, such

dedication to the guitar, we will be happy to perform with the team, now the song is a composition based on orlov’s poems, this is a work by anna german and valentina tolkuno, i love this song very much and i’m proud that we did something like this delicate with great love for performers and authors this song, reading of the work the city of people in love, for you in the podcast melody

of my life. exists on a distant planet. a city of people in love, the stars shine in a special way for them, the sky is doves for them, white walls over the sea, white peace and comfort, people do not quarrel, people do not argue, people are each other... sit down, be silent, everything will pass by itself and melt away , anger and sadness, will go away,

let’s sit, be silent, i need words, we are to blame, but love is right. if you see the city here, you will immediately forgive me with an insult; forever shines, the light of the white city. let them say that on our planet, this city does not exist, sit, be silent, everything will pass on its own, and

the anger and sadness will melt, it will go away, let’s sit, be silent, there is no need. you are words, we are to blame, but love is right, let’s sit and be silent, i need words, we are to blame. and love is right, there is on earth, this

city, of lovers. people, we continue our podcast, the melody of my life, my name is valery syutkin, today our guest is alexey alekseevich kuznetsov, you can watch all episodes, including today’s, on the website. channel 1tv.ru. well, we let's continue to watch alexey alekseevich's family album together. oh, what interesting photos. oh, you know what, this will be completely new for some, because before, a football match was played with a live orchestra. yes, this is 1945. this is the dynamo stadium, in the first row is boris eremilovich tikhonov on the accordion, dad is standing in the center.

this orchestra was called a pop orchestra, in my opinion, then earlier, long before i wrote the chorus of the spartak-dynamo football match and a crowded stadium, people created live in real time mood for a football match, live music, it’s great, amazing, this is a document, as they say, a photographic document of that time. very interesting facts, oh, this is a very important photograph , i would say so, this is the blue bird cafe, for myself i associate this with the 1965 festival in moscow, the jazz festival, this lineup, in this case, which is here, this is malaya dmitrievka corner , there used to be chekhov street, yes, quite right, blue in the basement, that’s where we gather, behind

the piano, unfortunately, vladimir, here well, this is the composition of the festival in 1966, what is unique is that blue birds was the first cafe in which i was there as a seventeen-year -old teenager, even before moscow and before space, it was blue birds, but look at the teaching staff, i would so said, in the center, this. from estonia, a wonderful guitarist, he is alive, god bless him, as they say, next to me, to the right, as it were , is stanislav koshirin from yaroslavl, he is also alive and god bless him too, and i’m on the left, this is a trio of guitars that played very often together, that is, this is a predictor of my program , guitar forms, they were already slowly coming together, this is this one, this is this, this is communication. guitar world, jazz guitar

world in soviet times. alexey alekseevich, you, as an absolute master of accompaniment, i know, have done a whole series of works that help young guitarists master the instrument, based on your wonderful motto, alexey alekseevich has a motto, so as not to say too much, in short , this motto is so far, in this for now, restraint and an appeal to the fact that not necessarily... a lot of notes, the main thing is to do it with taste and precision, precision is needed, how much guitar is needed in this piece? i can say, without relying now on documents, some photos of ours, just that the accompanying guitar was clear to me from the very beginning, i had to be able to do it, because one of the recordings, i relate to the jazz recordings that i heard on the radio... showed that guitarists know how to accompany, and solo, and also play percussion, hit the fretboard, different

percussion sounds, so half-closed strings and so on, i took all this into my arsenal and still use it , because it is important, a guitarist must be able to solo, accompany and, if possible , make percussive sounds, but i think... i’m still 75 % accompanist, i like it, i like it when the soloist begins to, well, feel himself, opens up, then says: vich, where is our next concert, only you will definitely be there, this connection begins, this is the most precious thing for me , alexey alekseevich, where is our next concert, well, you know where, but now there will be a song

that illustrates. we will perform for you a song written on a creative trip by composer jan frenkel and poet mikhail tanich. by the way, taking this opportunity, this year mikhail isaich marks the 100th anniversary of his birth. mikhail tanich is a poet who wrote to our people, that is, to you and me, his own folk songs; he is an absolutely unparalleled master of lightness and precision. and the song illustrates this very clearly, but what can i tell you

about saccharin? well, what can i tell you about sakhalin, the weather on the island is normal, the surf has salted my vest, and i live at the very sunrise, and mail, with transfers, flies from the mainland, to the farthest galony of the union, where i throw pebbles from the steep bank, the distant la perouse strait, where i throw pebbles from the steep berezhka. the distant la perouse strait, there are low clouds over sakhalin, but i get up over the hill early, show the sun to the fishermen

, and send it to you on the ekemanka, and the komi mail flies from the mainland to the farthest harbor of the union, where i throw pebbles from the steep bank, far away the laperrose strait, where i throw stones from the steep bank, is a distant strait. in the land where the waves and winds argue, men of few words live, and the islands are like seners, they return to russia from putin, and the mail, with a transfer, does not fly from the mainland, to

the farthest harbor of the union, where... i throw stones from the steep bank, distant strait of laperouse, where i throw stones from the steep bank, distant strait of laperouse. and mail with transfers flies from the mainland to the farthest harbor of the union, where i throw pebbles from a steep bank, a distant strait

laperouse, where i throw pebbles. from a steep bank, the distant la perouse strait, well, what can i tell you about sakhalin, well, what can i tell you about sakhalin. this is the podcast melody of my life, i’m valery syutkin, today my guest is the people’s artist of russia, the legendary jazz guitarist, alexey kuznetsov, alexey alekseevich, thank you for the pleasure of performing music together, it’s my pleasure once again, i ask your attention,

turn to the screen , comment on this photo. yes, well, this is my long-standing, so to speak, musical friendship with nikolai gromin, my constant partner, with whom i played duet guitars , we recorded a record, we wrote a record 10 years later and many different records, nikolai, it’s just a guitar in jazz, in practice, and my thought, which appeared during our , so to speak, connection, to make such a small document, printed, if you can call it, from the practice of a jazz guitarist, i worked on it, came up with something, it exists, as such it can be found, but but playing two guitars is wonderful resource, these are two orchestras that intertwine, first

nikolai was a soloist at the very beginning and i was only an accompanist, then we crossed paths properly, when we met, we began to work it all out, i apologize for the word, in the kitchen, just polishing, understanding each other, finally we began, and he can accompany and solo, and i can accompany the salts, we change , well, in fact, in our composition in the barking jazz you have alexander faraonich, we have the same dialogue going on. we continue to watch the album of alexey alekseevich kuznetsov. this is a festival photo from the 1968 festival also youth ensembles trio i play ivan vasenin on the double bass, he unfortunately died in a fire in the russia hotel in the seventies, he was big. and there many passed away from the lives of vladimirs on the drums of this trio, but it is significant that this year in 68 i introduced my

bossanova alyosha to the public, the viewer, that was then, it still exists, and sometimes it is played somewhere in schools, there was already a compositional moment, yes , this is the year sixty-eight, in the sixty- seventh year, the year before i also played in a trio with anatoly. he is also playing in my program and so on, this is our trio from the year sixty-eight, the next photo, this, and this is the same thing, and a repetition, only other angles, and another angle is also the eighth godzha 68, here is the guitar i have here bjarton swedish, in in my opinion, i voiced the gnomes on it, that’s what it sounds like. we move further along the album, well, we are returning to the cinematography orchestra, a wonderful friendship, i have already mentioned the collaboration with the composer murad magometovich kozhlaev, here he is

, as it were, conducting us for the barovans andrey chernashov, soloist of the orchestra, alexey splotovsky on bass guitar , unfortunately, pianist igor nazuruk is not visible here, he is next to us here, and i am in the middle, this is already with gibson, this is already the seventy-third. this is a community somewhere, it has passed through many years and still remains, and we are always connected with murad magometovich. alexey alekseevich, it’s a pleasure to talk with you, you know, your intelligence, it can be heard in the music, only you can help in this way, open up to vocalists. in any case, if it weren't for you, i definitely wouldn’t touch the heritage of the 50s, sixties, i think that it would be, well, you know how sometimes it performs well, but still this is a restaurant, thanks to you, this is art, because it has a completely different

musical mood, precisely in in my confidential sip, that’s what i call my tempo, it responded, there is some kind of chemistry , so you are an absolute wizard of your favorite thing, i don’t even want to say the word craft, but just your favorite thing, because your... life is dream come true: you dreamed of being a guitarist and steel and you are a guitarist with a very large capital letter, a real wizard of the guitar, people's artist of russia alexey alekseevich kuznetsov was a guest on our podcast melody of my life, thank you, dear tv viewers, you can see all podcasts on the website of the first channel 1tv.ru, alexey alekseevich kuznetsov, valery syutkin, elijaz, thank you, i’m just working as a magician, eduard kolmanovsky to ashanin’s poems, goodbye,

see you again. i fly to different lands, who knows where we will be tomorrow, i bring rain, i bring the desert, i give out the sun to good people, why, my friend, because i didn’t learn life from textbooks, i just work, i just work as a wizard, a wizard, you walk, you walk through

january, it’s cold, the traces are like dots, if you want i’ll talk to you, hand i’ll give it and the path will become better, why, my friend, because i didn’t learn life from textbooks, i just work, i just work as a wizard, a wizard. don’t spare anything for your friend, think a little about others too, that’s my simple magic, maybe you can help me with it, why

my friend, yes, because i didn’t teach life from textbooks, i just work, i just work as a wizard, a wizard, why, my friend, because i didn’t teach life... from textbooks, i just work,

i just work as a wizard, wizard . hello, this is the psyche podcast and we continue to sort out the storehouses of our consciousness, calculate the algorithms of our behavior, and look for some kind of formula for happiness. i hope that we will succeed in this. today i have a psychologist and psychotherapist in my studio. here in the expert’s chair, psychotherapist, ekaterina makarova. she's great too. today we will talk about what it is. ekaterina, a famous psychoanalyst, vice-president of the all-russian professional psychotherapeutic league, a person who has conducted, well, almost 2,000 consultations, and in different languages. hello, ekaterina, hello, here in the chair, heroines, we have a psychologist today. and probably for people who are not completely immersed in the circumstances of this wonderful profession.

it may sound surprising, but why does a psychologist need his own kind of psychotherapy, and what can't cope on his own? turns out not. alla, hello, hello, what brought you to us? i believe that, well, for every psychologist in general, therapy is needed on an ongoing basis in order to maintain oneself in a resourceful state, and if when working with people you come across some other questions of your own about something similar, then with this question how once again you can come to your therapist, sort it out and thereby get some additional resource for working with people, plus , having solved your problem, you can give an opportunity for other people to solve their problems, you now have some kind of problem, you have some kind of request, yes, i have a request, i

just recently had a very similar one. the story with my parents, when we had to separate completely, at the moment we don’t communicate, although for a very long time i worked just to make this relationship more harmonious, but now i saw that if the work happens on one side, it’s not the most productive work, and at that moment i had to break off our relationship, and how could i it seemed that i had dealt with this, but from time to time i return to this issue. and i felt that i was needed after all, and you coped with what, with the interruption of relationships or with the fact that precisely with the moment of separation, when the relationship is interrupted, it’s still some kind of loss and...’ here i couldn’t cope with this loss, i’m haunted by such a feeling of guilt, and somewhere there’s regret , somewhere there’s pain, and so you go to bed at night, you think, well, everything seems to be fine, but something is wrong , but tell me, i i understand correctly that

a psychologist cannot practice in such state, i am inclined to not practice in such a state, because when you are not in a resource state or in some pain point, in any case, it will be difficult for you to maintain this zero position in which you must work with the client. you mentioned a neutral position, called it zero, this is called a neutral position. another interesting point, because the person himself, in the role of a psychologist , cannot assess how resourceful his state is, because he cannot look from the outside, cannot look at himself in practice, this is precisely the task of a supervisor or a training personal therapist, this control on time, and perhaps even predicting, showing a specialist, you are entering a non-resource state, perhaps what is happening now in your life will affect your work with clients , well, then maybe we’ll first talk

about the situation with which alla came to us, and then i would be happy, if there is time left , to ask you about how this supervision happens, what it is, reveal your secret there a little. behind the scenes, uh-huh, dear specialists, alla, i hear that the request is not primarily for supervision, but for educational personal therapy. unfortunately, often a side effect of receiving psychological education is precisely the interruption of relationships with the usual social circle. what is the training of a consulting psychologist or psychotherapist? this is a four-part model, it consists of four. integral parts. the first is obtaining a theoretical education. this is not our profession differs from other professions, yes, they study at universities, gain skills and knowledge. the second is practical experience, practical assignments, work in pairs, work

with colleagues. the third integral part is work under supervision, when an experienced colleague with supervisor qualifications helps as part of school supervision within the framework. training to correctly use psychotherapy and counseling methods in practice, and here he just gives assessment, feedback, helps, says how to do it even better. further, when a colleague has already graduated and has become an independent professional character, an independent professional unit, the supervisor helps solve pressing problems in practice, yes, clinical cases, also the fourth integral part is its own study, it may contain an analysis of personal stories, maybe even some clinical work, but first of all , educational personal therapy is aimed precisely at the professional personality of the specialist, so that personal stories

are worked out in such a way that they do not influenced the work with the client in a negative way, including educational personal therapy that teaches one to feel oneself, to trust the professional community, to say in time: stop, i am not a resource, i am not in a state in which i can be useful to their clients, this is a four-part model, theory, practice, supervision and educational personal therapy. undoubtedly, during supervision, the supervisor can analyze cases, well, at the so -called third level, yes, at the personal level of a specialist. usually when i'm an adult i i mean, having already completed my education. a psychologist or psychotherapist who has entered his practice, fully, and taken responsibility for the quality of his work , turns to the supervisor, the supervisor asks him a question: at what level or levels will our work or the analysis of your