[000:00:00;00] maybe we couldn’t figure out how to do it beautifully, because it turns out that yulia is flying, the wedge has to look at her with his back, i’m pulling him through the station using special harnesses, but i understand, i can move backwards, i’m already on it i lived there for more than a year and a half, this is my second home, i understand where things are, the climate doesn’t understand anything, he just holds on to this red camera, they made a special device for him so that he could hold it with one hand in weightlessness and see what he’s filming but he doesn't see how he's moving, he can only hope on... i'm the only one trying to group his height is 90 meters, practically the tallest cosmonaut in history, and the color of the hatch there is 900 mm, yeah, we had to stretch it there, understanding even on the ground that he would move anyway, it’s clear, like everyone else, even young cosmonauts, well, in the beginning , somehow, well, probably, i move in the same way, it’s not funny to push off hard, then i don’t have time to slow down, i hit myself, the bruises sometimes

even bleed. it was all clem, uh, well, yes, i think he hit it for sure, so that he wouldn’t get a head injury, i understand that he won’t be able to see when we’re dragging, because we directly drew how it would be, i directly told him where they were, what he could grab onto, uh, we decided to put a helmet on him, we started looking there, i don’t know , a ski helmet, we brought this helmet, we thought it was hard, uncomfortable, and then we came to the conclusion that we need to take two hats with us, well, let’s call it that, this is rugby, when they play, they have these. on a foam rubber rag, in principle, the shock clinch of this cap, i pull it, he understands, i tell him, put your head down, now i’m pulling it in i will, and there is a moment when i pull him in, and then yulia continues to move , as if she flies into the module and calls me to sing , at this moment i have to leave him, while he is moving the camera, i have to fly in, pretend that i am sleeping, then she calls us, we blow up and fly after her, that is, all this had to be done with one poppy, at some point even he thought that we would probably

do it with two. parts, because it won’t work in one, i say, no, let’s train, we have to do it in one shot, yes, because it will be the most, the most it’s great, what you’ll do, well, i really, i really like it, as you understand, well , the importance, let’s assume in one shot in general that the specifics of cinema, you can’t spoil with klim, this is his phrase, well done, everything was shot well, probably everything , we say, yeah, and then he goes, looks at what he shot on the monitor, and says, well , let’s reshoot it two or three more times, for now. won’t achieve what he wants, i’m wondering, when at this station, where there are completely different, so to speak, representatives of different states, different countries, you are generally friendly, this is such a concept, because you are all doing your own experiments, and each country , so to speak, probably hides it from itself, but nevertheless, you are all doing some very important work for humanity, there is some kind of solidarity, an understanding that we

, after all... atlanteans up there, are doing something in common. of course, i know my foreign colleagues, i understand that we are all obsessed with one thing: space flights. we don't meet at the station. crews are formed in a year and a half, when i fly, i know who they recruited young people who were already experienced, even older than me, who had already, well, before me, came to naso to the european space agency, to the japanese one, we know each other, a team is being formed, we are in houston, everyone is always invited home for some weekend holiday , we get to know their families when we arrive here on a starry day for training, we spend time here together, we try to show them how beautiful moscow is there and so on, and in principle, when we fly into space, there is no surprise, i know everything mine crew, i always flew as a commander, i always had foreign crew, well, except for the last flight, i only returned from an american, so

we have no problems. of course, we don’t discuss taboos, but we all discuss politics and religion at the table, it’s kind of taboo, there are, of course, some experiments that no one knows, but usually, even if you’re a station commander, you know all the experiments and we try as much as possible do experiments together, in any case, everything that is a product of these space experiments on the iss is the property of all humanity, you celebrate holidays together, be sure to drink, unfortunately, alcohol is prohibited, the station, anton, it is prohibited, well, we, well , listen, well, we are our own, we are professionals, that’s it, and you know that alexey arkhipoch violated this rule, he didn’t break it, he stuck a label of capital vodka on the borscht, and just when the union handed over the apalama, he said, well, he told me that, well, not me, i’m the only one, i mean us guys , mopane, even champagne is pointless,

well, it will fly away, right? he told me what i think the mino was from stafford, when he gave him something like this, you can roll it, he unscrewed it once, and then more, i think it was even better if he gave him cognac, that is, he did it with this always. 40 people, he was always, yes, always in the center of attention, he had so many anecdotes, life stories, he could find something to talk about on any topic, and you sit there, you have no time for this table, you listen to everything, with your mouth open like that, those are the ears, and you want to laugh, you try to remember everything he says, anton, one more question, maybe the longest flight there was, 200 days, that after this you want to be the first to do it on the ground, most of all you want to wash yourself in the shower and go to the bathhouse, yeah, i

remember, after the first flight, we landed, we got a helicopter, from a helicopter we got a plane , our plane is flying from kazakhstan to us at chakalovski, they spread it out for us so that we could lie down, because we are lying down. after all, it’s still more or less normal, because we can’t stop, when we return, we lose consciousness, but lying down is normal, well, in this lying position, i feel like it’s been 24 hours already we’re not sleeping, this is it, well, it’s still tension, returning to earth, now we’ll fall asleep smoothly, and the doctor sees and says, let ’s go to the toilet one by one, yeah, well, we ’ve come to the toilet, well, usually like on an airplane, well i opened the door, walked up, he said, well, just don’t close the door, so god forbid that i’m always there, i remember, i go up to this washbasin, i say, i open the water, it’s pouring, i was in such a shock then, it’s pouring, how much you want, i’m like a little child, so i started to take it and just take it upon myself, doctor so, anton, something happened, i say, no, estimate the water, as much as you want, you can do whatever you want, so this is what i think,

i wanted more, today is the premiere of the film , a challenge, are you all going to the theater, or are they inviting you , but of course, we are the ones who think that we have something to do with this. the film is just that we all directly gave birth to yulia, we were worried about her, she is our hero, of course, but after she arrived, she told her impressions, well, except for the fact that this is the moment they had for each other we looked, there were a lot of questions, what did i have to do with it, it was some kind of evening meeting, i don’t know , no, no, no, it was quite spontaneous, it was like that, it was like that, i heard the voice sitting in the office, in my own way, i heard... something was happening, suddenly i heard yulia’s voice , and at the same time, yulia, yulia, yulia, yulia, yulia, that ’s how a huge number of people crowded into my office, all of us, yulia is like a snow maiden ... then she sat and talked, answered, yes,

please, your question, yes, please, your question, but the questions were how to drink, how, how sleeping, like everyone else, is very simple, and what does she have to do with it, i thought you would ask about something interesting, but this is this. everything is very simple everyday life, but it was still interesting how to sleep, for example, there, she told me, even there, so to speak, she imagined it, she called me from there, anton, and i didn’t pick up, i didn’t pick up, i missed the call, i i’m still talking about this , this is a historic call, i was rehearsing something, i don’t know what yevgeny mironov would like to do, as a person, as an actor. like uh, a producer in space, i would make a film and i, i'm wondering if i'll forward this question for you, what’s next, next

, perhaps, in general, in your opinion, tsolkovsky thought that it was probably possible, but now, you yourself said that this film is our time of the first, it , uh, at the beginning, in fact, was the first to arouse interest again to space, and now the challenge is a challenge for everyone. yes, speaking about how we are, how, what kind of people they are, what we are now, what our space industry is doing now, but we rolled back after the collapse of the soviet union, it feels like it was somehow frozen, or is it a mistake, perestroika, but we just rolled back now we see a return again, again the popularization of astronautics, even i meet with children, i see that every year more boys and girls want to either become a cosmonaut or work in roscosmos. great films are being made about space, truthful ones, uh, why now? what is your opinion? it seems to me that the general situation in the world in general, warming, and a way of some kind of reflection, at least on where

a person can still, for this it has always been a dream, you know, to find, or to find, by the way, there is, i have not seen , everything is clear, well, i believe in it, that they yes, cool, if ours are some - there are some others in mind in these galaxies , the second thought, why it became popular, is, well, yes, we need to look for some bases, you know, humanity needs to look for bases, colonize. to develop, of course, yes, and to prepare people, psychologically, this is necessary, i imagine, to prepare people who will not return here, who will already live there, develop and multiply, and so on, is there or is this the secret of the idea, such plans or is this a secret , anton, no, we do, we have a space program and a long-term one, which is precisely aimed at developing now the moon, then mars, well, mars is the nearest planet, and after that , of course, further expanding our capabilities, now... satellites, stations that

will fly to other planets, our solar system, well, of course, the next one in the future, of course, it will be necessary to go beyond the boundaries of our solar system. anton, we will live to see this, i can’t guarantee it, but i hope that now artificial intelligence , everything that is happening, is in ours on earth, with ours technology, of course, perhaps we will live to see it, firstly, we will live longer, i hope so, and secondly, we will live to see it. at the end of our conversation, i want to ask my favorite question: what do you think a person will be like in space in 50 years , what will he do ? , such platforms will fly, i hope that it will be something that unites us all, something very peaceful,

you know, and even the exploration of other planets, this it will be - well, such a wonderful, positive, wonderful experiment , you know, there will be a lot of volunteers, our grandchildren are already with you, maybe they will fly there and then we will communicate with them via zoom or skype, like how are you, what are you , you ate, you have what you have, what are you talking about, and there are fields, meadows , they have grown everything under such a spacesuit, because there is no oxygen there, yes, there ’s probably everything there, water, as much as you want, you know, oh well what are you, i have a request for you, finally, yeah, we are colleagues in every sense, as expected, yes, let’s, you know what i had, it was very touching for me when i arrived - and i was present at the launch of the spacecraft, it was special for me to understand, yes at baikanuri, yes, yes, yes, and me, when the astronauts were about to get off

- the bus ? no, it’s not a bus yet, it’s a dispensary, which means they let me in there, so to speak, you can’t touch these cosmonauts anymore, apparently medicine is already working there, well, so to speak, well, how interesting, three cosmonauts, suddenly, when they come out of this onto the street, go to the bus, from this dispensary, it turns on, this is your music, we are dreaming, not rockmo, damn it, i can’t help myself , i have a tinkling sound, it’s like a soviet song, a good song, nothing, i’m just having such a touching moment, we can sing to us, three, four, we are dreaming, not the roar of the cosmodrome, i just get goosebumps, not this icy blue, we are dreaming of grass, grass near the house,

anton, thank you, our space exit has come to an end, with you were the people's artist of russia, evgeny mironov, and the cosmonaut pilot anton shkaplerov. if you frown, leave the house if you it’s not a joy to have a sunny day, let him

smile at you as if it were his own. a guy who knows you completely , a guy you meet, a smile, without a doubt, will suddenly touch your eyes, and god will not leave you in a good mood. more than you, if you and your beloved suddenly quarrel by chance, often the one who loves quarrels in vain , you look into each other’s eyes better, better than any words, sometimes glances speak, a smile,

no doubt, will suddenly touch your eyes, and a good mood , will not leave again, if someone else was abandoned in misfortune,

this act penetrated your heart, remember how many people there are. hey good ones, 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 you anymore, and a good mood.

will not leave you again, hello, dear friends, good mood to you, today on the podcast melodies of my life, my guest is the people 's artist of russia, the legendary jazz guitarist, kuznetsov, hello, uncle lyosha, it’s very nice to see you, kind, kind, kind day, i have great pleasure playing songs, to the accompaniment of alexey alekseevich, because he is a real guru of this genre, he manages to make a bad word with the accompaniment, he has time, he just makes it so that you enjoy a very refined intelligent guitar, alexey alekseevich, you are with your whole destiny, probably musical, everything show with your appearance what a real gentleman of our russian jazz is, 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 this instrument and love it for life? absolutely that’s right, life passed before my eyes, and what was connected with dad was

always at home, and the guitar, and the look when dad got dressed before the concert, everything was smart, a tuxedo, and so on and so forth, that’s why, what we see now is precisely the quartet of boris ermilovich tikhonov, which was based in the orchestra of yuri vasilyovich selantiev, in which dad worked, and rehearsals often took place at home, and i saw live how it was done, such a word is not very pleasant, who is in this photo dad with a guitar, dad with a guitar, here he is, next to him borismilovich on the accordion, nikolaitov on the clarinet nearby. trabasse is also next to us, this is a famous quartet that was a huge success, and i saw it all live , so the guitar seemed to have flowed into me in advance, a long time ago, i was just thinking how the chords are played, and how this hand strikes, here this accompaniment, because there is a lot of

accompanying role of the guitar, i saw it, i took it, and it’s very, i like it, alexey alekseevich, well, your life is not a break. connected with cinematography, with orchestra cinematography, but we are now together with team light jazz, we will perform a song, 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, however, as always, a song from movie big ore, he wrote it, by the way, it’s his only hit, it turned out to be a hit, but it’s the song that was made precisely as a challenge, they reproached him that he writes only... for cinema, he says: i can give her cinema write a song, which the whole country will perform, it so happened that maya vladimirovna kristallinskaya

performed this song, and the poems, by the way, are by nikolai nikolaevich dobronravo, let ’s perform the song now, and then we’ll talk about you and the movie. so, don't be sad. where there are pine trees, where the 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. with you and me,

let the cuckoo be silent again, we can’t predict its fate, don’t be sad, don’t say goodbye, but come out to meet me, don’t be sad, you don’t say goodbye, but come out and meet me. there is a charge above the road, the seas are full of blue light , don’t be sad, don’t say goodbye, because life was not invented 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, i will look back, you don’t be sad , you don’t say goodbye, i will definitely come back, don’t

be sad, you didn’t say goodbye, i’m obligated, i’ll be back, oh, alexey alekseevich, i can’t help but admire your guitar techniques, i as a guitarist, sometimes i don’t even understand how this is possible, in each verse there are some... different touches, you and alexander faraonovich very delicately created this work, well, here’s the movie and alexey kuznetsov, this is your guitar, it sounds in everyone’s favorite film by tatyana rioznogo, it just happened, i actually didn’t know about it, i’m just kind of working i have work, a film orchestra, every day we come to record something interesting for films, but then the phone rang and they asked me... to come to migail leonovich triverdiev’s house, he asked to come to give me a guitar part,

sheet music for scoring the film 17 moments spring, this is the same fragment alexey alekseevich, yes, yes, yes, yes, this is the music of mikal leonovich, which was included in the credits, so to speak, probably, most likely, the guitar of alexey kuznetsov, it sounds in every episode, yes, i now i remember what guitar i recorded on, not this one, well, it’s not so important, in this case, it’s the performance, the mood as such, or at the beginning, it sounds, but this is far from the only piece of music where we hear guitar by alexey kuznetsov, this is a cruel

romance, a cruel romance. in this case by cinema is possible. to determine, and by composers, the guitar sounds from idison denisov, sofia gabaidulina, andrei petrov, andrei yakovichai, murat magomedovich kozhlaev, these were all composers in the cinema, i was in contact with them all the time in the creative field, and always some piece , somewhere there was definitely a solo guitar, and this is all reflected in the work, in your life there were both orchestras and small compositions, that is, as an officially working guitarist, you first worked in the pop symphony orchestra of vasilvich selantyev on the radio, this is from sixty second from about seventy-four years, something like this, then i worked in the kinetography orchestra, from ninety-two years, these are two large groups, and just a little bit, exactly one 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... that’s absolutely right , this is viktor borisovich dvoskin, the bass guitarist, but he’s a double bassist, and i’m next to him and there’s a little to the left at the top. viktor yaponeshnikov is the drummer, and mogamaev, he’s on the right, agamaev on the right is always, always with us, this is also a pavilion shooting, like today, relatively speaking, this is claudia ivanovna shulzhenko, it’s fate that’s arranged in such a way that it happens like this. at the piano boris yakolevich mandrus, her constant accompanist, ivan ivanovich livanov on the double bass, that’s you, how old are you here, 19 years old, 19 years old, me with a guitar with my dad’s breech, which was in the orchestra, and dad is downstairs looking at the notes, he already has his own guitar, migma, white one, he brought it from germany, well, here’s the guitar, alexey

alekseevich, this is your most important love in life. i wouldn’t even like to ask about any competition with her, it’s impossible to compete, such devotion to the kitara, we will be happy to perform with the team, now a song by the composer gomaliy based on orlov’s verses, this work was brilliantly performed by anna german and valentina tolkunova, i really like this song i love and am proud that we did something so delicate with great love for the performers and the authors of this song. works of a city of people in love for you in the podcast melody of my life. palm open under no circumstances should it be clenched into a fist. the only place where there could be a gun is in the left hand under the napkin. we can avoid opening a second front only if we decapitate the leadership of

countries hostile to us with one blow. it became known that the germans were preparing. operation in tigeran , dear gevorg, all six umbrellas that you ordered for your father’s confectionery are ready, six umbrellas meant six paratroopers, you are in charge, you must be the smartest, the most careful, whether they are germans or not, then i saw an army boots, they don’t wear them like that in iran, i wanted to shoot, but i hope we won’t shoot, i’ve been working for four years now, during this time i didn’t... didn’t ask you, we found these six german raditics, and someone will take it... then another, drink some water. comrade stalin grinned and excited the six germans we found, hurray, for the eightieth anniversary of the tigirand conference, on sunday on the first, one shell fire, shot,

modern combat is like a chess game, reason is never allowed here. two tanks, five armored vehicles, and we have one there, alyosha, here behind this forest stand there is a defect, our guys went to approximately that area, climb out, climb out, let's quickly, quickly, faster, faster, hook up, hook up, we'll take the equipment now, restore it, rum, let's mount it, a little up, yes, more, more , more, more, just look at what a huge unit, the heart of the tank, so guys, it’s ready, everything , let’s start, let’s go for a run-in, let’s go, time has chosen us, it shouldn’t be every man for himself, here it’s one for all all for one, charging, premiere, special report, living heart

tank, on sunday on the first. there is on a distant planet , a city of people in love, the stars for them the sky shines in a special way for them, doves, white walls over the sea, white

peace, comfort, people don’t quarrel, people don’t argue, people sing to each other, sit down. if you are silent, everything will pass on its own and the anger will melt and the sadness will go away, let’s sit and be silent, no words are needed, we are to blame, but love is right, if you see that city , you will immediately forgive the insults, you won’t

offend me with a vain word, you won’t offend me, the path will forever light up for us, white city light, let them say that on our planet, this... there is no city, sit, let's be silent, everything will pass by itself , and the anger will melt, and the sadness will go away, let's sit, be silent, no

words are needed, we are to blame, love is right, let's sit, be silent, no words are needed , we are to blame, but love is right, there is this city of people in love on earth, we continue our podcast, the melody of my life, my name is valery syutkin, today our guest is alexey. kuznetsov, you can watch all episodes, including today’s, on the website of the first channel 1.ru. well, we continue to watch the family album together alexey alekseevich. oh, what an interesting

photo. oh, you know what, this will be completely new for some, because before, a football match was played with a live orchestra, the conclusion is, yes, this is 1945. so this is the dynamo stadium, in the first row is boris eremilovich tikhonov on the accordion, dad is standing in the center, and he has a simple acoustic guitar with nylon strings, and standing next to him is viktor nikolaevich knushevitsky, the musical director of this orchestra was called a pop orchestra, in my opinion for a long time before i wrote the chorus the spartak-dynamo football match and the crowded stadium, people live in real time created the mood for the football, and live music. this is great, amazing, this is a document, as they say, a photographic document of that time, thank you, a very interesting fact , 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, jazz festival, this lineup, in this case, which is here on the small dmitrovko corner, before chekhov street there was a bird, yes, absolutely true, blue in the basement like this... that's where we gather behind the piano , unfortunately vladimir kul, pianist, vladimir smolenitsky on double bass, vladimir maganet on drums and guitar here, this is the lineup of the festival in 1966, which is unique alexey alex, that blue birds was the first cafe i went to as a seventeen-year-old teenager, even before moscow and before space, it was blue birds, look at the teaching staff, i would say, in the center, this is tiit pauls from estonia, wonderful guitarist, he is alive, god willing

health, as they say, is nearby... to the right of me, 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 very often played together, that is, this is a prediction my program, guitar forms, they were already slowly gathering, this is the one, this is the communication of guitarists, the guitar world , the jazz guitar world in our country in soviet times, alexey alekseevich, you, as an absolute master of accompaniment, i know, have done a whole series of works, which 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, so far so, restraint and an appeal to the fact that it is not necessary to play a lot of notes,

the main thing is to do it with taste and precision . accuracy is needed, how much guitar is needed in this piece, i can say, without relying now on documents, some photos of ours, it’s just that the accompanying guitar was clear to me from the very beginning, i had to be able to do this, because one from the recordings, i’m talking about jazz recordings that i heard on the radio, showed that guitarists know how to accompany, and solo, and also play, percussion, hit various percussion sounds on the fretboard, and such half-closed strings and so on, i took all this to myself into my arsenal and i still use it, because it’s important, a guitarist must be able to accompany solos and , if possible, make percussive sounds, but i still consider myself 75% accompanists, i like it, i

like it when... a soloist starts over it, well, he opens up, then he says: where is our next concert , only you will definitely be with me , this connection begins, this is the most precious thing for me alexey alekseevich, where is our next concert, but we know where, well and now there will be a song that illustrates the widest geography, alexey alekseevich kuznetsov, guitar, andrey nikonov, drums. igor kondur, double bass and alexander faraonovich martirosov on accordion, we will be happy to perform for you a song written on a creative trip, composer, jan frenkel, poet mikhail tanich. by the way, i take this opportunity, mikhailich, this year 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 unpretentious master of lightness, precision, and this is very clearly illustrated by the song, but what can i tell you about sakharin, well, what can i tell you about sakhalin, it’s normal on the island. the weather, the surf has salted my vest, and i live right at sunrise, and the mail flies with transfers from the mainland, to the very farthest galoni of the union, where i throw pebbles from the steep bank, the distant

laperu strait. peruza, there are low clouds over sakhalin, but i get up over the hill early, show the sun to the fishermen, and send it, trouble to the yakemon, and the mail, with transfers, flies from the mainland, to the farthest harbor of soya. where i throw pebbles from a steep bank, a distant strait, where i throw pebbles from a mole bank, a distant

strait, in the land where waves and winds argue, there live a few... wordy men of the island, like a cinere, to russia returns from the putin, and the 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, couperouse, where i throw pebbles from a steep bank, a distant

strait of la perouse. and mail with transfers flies from the mainland to the farthest reaches of the union, where i throw pebbles from the steep bank, the distant laperous strait, where i throw pebbles from the steep bank, from the distant laperous strait. well, what can i tell you about sakhalin, what can i

tell you about sakhaarin. 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 have a record recorded, django, we have a record recorded 10 years later, and many different records, nikolai, uh, just this guitar in jazz, in practice, and my idea

, which appeared during our, so to speak, connection, was 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, uh, but playing with two guitars is a wonderful resource, these are two orchestras that are intertwined, at first nikolai was a soloist at the very beginning and i just accompanist, then we crossed paths, as it should, when we met at the beginning, to work out all this, i apologize for the word, on kitchen, just polishing, understanding each other. finally they began and he can accompany and solo, and i can accompany and solo, we change, mutually, it turns out like two orchestras, in fact, in our composition in barking jazz you have alexander faraonvich, we are having a dialogue,