as if you were holding a book in your hands, clutching one piece after another, sipping on the skin words, the greatest creativity comes from all of us, the most valuable and useful ones are these books. books have thoughtful, minute, concise and expressive thoughts. everything that chalavetstva created, hogged on old books, bytstsam enchantment, read by chalavets for centuries, experienced stagodzi, read nearer torches. we appreciate

the past for our daily life. belarus 24. as a boy who came from baku from the caucasus to post-war grodno, i was struck by the custom. men, when greeting each other, raised their hats, and in front of women they simply took it off. in minsk , only one person observed such a european custom.

even when meeting with... but from another generation, much younger than him, he raised his hat, he was probably the most intelligent, most educated, most erudite person in music, choirmaster, viktor vladimirovich rovda, well done, please sit in at the minsk philharmonic, three people had their permanent positions, well, this is the people's artist of the bssr, our most famous composer-songwriter, eduard semyonovich hanok, before the start

concert during the intermission, you could find him in the buffet at the first table from the bar, edik is sitting, drinking a cup of tea and people sit down with him, and i sit down, listen, listen to him, endless discussions about waves in creativity. the second man, in a dazzling white suit, is the head of the government. when he was not holding his complex, complex trench things, he went behind the scenes to the director's box and sat down on the very last one in the director's box, literally with his back to the wall in a chair in a white suit and sat and seemed to empathize with what was happening on the stage, there were songs and dances. and

the third person always took a place in the tenth row for vips and one could hear his comments, made loud enough to be heard not only by those sitting next to him. well , the tempo, the tempo, the orchestra is smeared, so what is it? victor vladimirovich rovda. viktor vladimirovich rovdo was born on november 10 , 1921 in the town of smaron, well, now it is the grodno region, in the family of an archpriest, a mitred priest. rovda and mother

stefanida phomminishna, besides him there were also brother and sister, victor was born, one might even say. why? because at the time of his birth there was no church in smargonia; it was bombed during the first world war, priest vladimir rovda held a service in one of the rooms of his house, and believers gathered there to sing. why? because, like every priest, vladimir petrovich protorey possessed knowledge and skills. begent , after the service in this house , belarusian, polish, russian songs were sung, and from childhood victor was raised in the faith, in worship, and in these chants.

good afternoon, grandparents, well, does anyone remember me from a long time ago, fathers are equal to the son victor, remember, grandmother, i remember, remember, yes, having discovered his son had a very good treble voice , sensing his craving for music, his father brought six-year-old vitya to some smorgon violinist, and vitya began to take violin lessons, noticing his noticeable musical successes, in 1931, the father brought vitya, his son, to vilna to the theological seminary, and as soon as he was auditioned, he was immediately accepted into the seminary in chorus it must be said that in

the seminary choir was conducted by the wonderful choirmaster of rimsky korsakov, konstantin mikhailovichkovsky, and the boyish choir was very good. flew into the chants of adults, well , because angelic children's voices are always in short supply. viktor vladimirovich recalled that already in childhood he was raised in strictness, he said that in fact, in the seminary, i was raised as in a monastery, in strictness and obedience, as in a choir. and so, when he turned 15 years old in 1936, the rector of the seminary... gave him a tuning fork, which he couldn’t handle parted with it, carried it in frakk’s pocket until the end of his days. in 1931, shirma, in the future, people's artist of the ussr grigory romanovich shirma, led the choir in the union

of belarusian students. all belarusians gathered there very willingly, as there were a lot of people in vilna. there i met the poets pilipp pestrak, evgeniy skurko, who published poems under the pseudonym maxim tang, with the choir singer, folklorist gennady tsitovich, they sang songs in the union of belarusian students, they sang mainly in the choir of the prechistinsk church dedicated to the dormition most pure mother of god, this is on the bank of the river. the singing was amazing; this was facilitated by the excellent acoustics of the cathedral, which has survived to this day. god work miracles, work,

work, work, work miracles. yes, the acoustics are excellent, the echo comes straight to me. another very significant meeting took place in the shirma choir. viktor urovda 16 years old, sofia voevvodski, kharistki, 13. two young people, well, still teenagers, often stayed in sofia’s house, there they were treated to tea, young people, tried on some belarusian costumes, maybe something

they finished sewing, embroidered for subsequent concerts, having matured, victor entered the theological academy, where the choir was led by the famous , very choirmaster, kowiacka, then he would make a great career, a successful career under the soviet regime, and from the first year they began to trust victor, on weekdays for now, only on regency weekdays. and he conducted the choir, sofia began studying at the conservatory in the vocal department, and in parallel, their destinies seemed to develop like this and their communication continued, well, in the future they will become a husband and wife, two passions, two desires seemed to leap up in him, firstly... vilna

university named after stefan batory, but what made victor’s parents bitter was that at the same time he had also submitted documents to the vilna conservatory, he was rushing about who to become. it was 1939, but victor's plan was not destined to come true, because on september 1, the nazis bombed warsaw, and the germans occupied the entire western part of poland.

but the underground medical institute continued to operate. viktor vladimirovich recalled that when the threat of arrest loomed, he and textbooks hid underground in the hidden basements of vilnius university, between corpses, between baths. filled with stinking formaldehyde, and this continued throughout the years of the war. in 40 articles about him, the period between 39 and 51 is practically not even mentioned. one vague phrase: he led the choir. this leadership of the choir during the occupation will still be remembered to him someday. but. a little later,

501 he entered the vilna conservatory, but what preceded this, he still hesitated about what to become, either a surgeon or a musician, and he himself there in his memoirs writes that musical ... subjects were easy for me, i was more involved in medicine, because i had to do internships in hospitals, cut up corpses, and musical subjects were taken down by sofya antonovna, my future wife, and then i copied these notes from her , but these are these scales of life, which were very difficult to combine music and medicine , he bounced between universities, trying not to miss lectures, neither here nor there, on a motorcycle, but

music still prevailed, again chance, vilna the state russian has arrived folk choir under the direction of alexander vasilyevich sveshnikov, now the choir bears his name, and sveshnikov, before the start of the concert, went into the cathedral, the prechestsky choir, a student of the vilna conservatory dared to go backstage to sveshnikov and introduced himself, said that yes. it was he, the regent of this church choir, sveshnikov, who showered him

with compliments and said: “victor, please, as soon as you graduate from the vilna conservatory, come to me in moscow, to the conservatory, to graduate school.” it must be said that sveshnikov was also the rector at that time moscow conservatory, come to my graduate school, but in 50. second, after the first year, rovda was expelled from the conservatory, and indicatively, at a komsomol meeting, although komsomol brovda was not a member, how is this so? a soviet student conducts a choir in a church and is expelled. for a year, one of rovda’s parents reminded the lithuanian ideologists, atheists, that in moscow there are

outstanding harmonica players with the same blemish in their biography, where the solemnity of the anthem of the soviet union comes from, now the music of the russian anthem, where the terrible tragedy in the song, sacred war, rise up, huge country, where the wide melodic chant of the cantata about stalin comes from, with an absolutely stunning coda, such a chant comes from, where, everything is from the same place, from the spiritual. the fact is that the author of the music is alexander alexandrov, now the choir bears his name, the red banner dance ensemble of the russian army, then the red and soviet army, alexander alexandrov,

the last regent of the cathedral of christ the savior, after the closure of the temple in twenty, that’s where it comes from. theological seminary, what a school, apparently, they made it clear to the lithuanians that they shouldn’t this lithuanian regent of yours should be so punished, because in moscow there are also such figures with the same regent’s stain on their biography, after graduating from the conservatory, rovoda comes to moscow to sveshnikov, at this time his wife, sofia: voevodsky is the primo of the lithuanian opera, she sings all the sopranos roles in lithuanian opera. she had a dizzying career, her postcards were sold in kiosks, he studied in moscow.

well, firstly, i came from the former capitalist world, accent. boundless erudition dresses in european dandy fashion such languages ​​besides russian, belarusian, greek, english, lithuanian, old church slavonic, german, moreover, when the choir is already rovda, minsk. paul, what language they spoke in polish, nine languages, in addition, excellent rhetoric, he could read sermons and the bible, as he boasted, viktor vladimirovich, he knew by heart, this is the basis, where education is, this is what

the spiritual gave, and exactly. sveshnikov already trusts him with the leadership of the children's choir, this reserve for replenishing the state adult choir; moreover, on weekdays sveshnikov trusts he is the director of the conservatory choir, you see, not only that, sveshnikov calls him vitenko. and when, on the instructions of sveshnikov , viktor vladimirovich rovdo led the children's choir, he and this choir once came to the trinity sergius lavra, then it was called zagorsk, and gave a concert there. and then, without beard, the seminarian, kiril varfolomeevich vakhrameev, for some reason remembered the hands of the conductor

who conducted this choir, and a lot, a lot has passed. all over belarus and once at a concert at the philharmonic i saw these hands i remembered the young choirmaster, the regent, who was conducting the children's choir at that time, and of course, he asked if it was you who led this choir then and evenly admitted that since then they became friends, met very often, talked... about faith, about life, it must be said that exactly until the end of his days, as long as his strength allowed, on saturdays and sundays he came to church for

the intermittent service of peter and paul, for saturday and sunday services, as long as his strength allowed, and until the end of his days filorrett visited the sick rovda, they talked , talked. editors club, an ordinary european man in the street, he sits under the threat of war, he is frightened by the terrible putin, the terrible lukashenko, the migration crisis , while he has terrible economic problems, he does not understand where to go, people, instead of fighting for their rights, they are losing these ideological guidelines , the americans, they have the task of pitting the europeans against each other, they do. it’s not that methodically, with the help of the british, the sacred economic vessel of the european union is slowly turning into a chamber pot with stars on the side. europe

will gain nothing from this war except destruction of the economy, this is already happening, loss of sovereignty, this is already happening, and third, the socio-political problems that will arise, this is what europe will receive from the ukrainian crisis. we should not look at anyone when we build order in our home. don't miss it. on tv channel belarus 24. 24 hours a day, 7 days a week , we work to keep you up to date with current events in the country and the world. in addition, our team of journalists obtains valuable knowledge from experts on how to maintain and increase health. there will be a place for entertainment. every friday we bring to your attention the best projects and films of our tv channel.

this and much more awaits you in the weekly project ether 24.7, watch on the tv channel belarus 24. immediately after the war, shirma began to gather his former choir members, to gather, as they say, for himself, to call everyone to vilna, among them, of course, was viktor rovdo. and after that, having assembled the core of the chapel, shirma moved to belarus to grodno. i would be at the hellish office of shirma's chapel. bratsima, my dear, you are in

luck, you live for the greedy. i'm sir, taba i’m jumping, jumping, my sons. i have to tell you straight, i really didn’t like the concert, it was very boring, they sang some slow , boring songs, well, i’m a schoolboy, a boy, i ’m 10 years old there, some without accompaniment, without an orchestra, they sang something , moreover, i almost felt offended, because the song about the heroic feat of the varangian... varangian, they sang some other unfamiliar song: cold waves are lashing, what is it like when there was a cheerful, optimistic,

heroic song, varangians to the top you comrades, everything is in place, it doesn’t surrender to the enemy, our city, however, sounded a little more cheerful, like folk songs, humorous there, i wanted, as a simple girl, to visit moscow in the capital, or there’s a second one... “yes, why are you, manka, stupefied, bast shoes, i’m wearing, i can buy new boots in a cooperative, so what is it, well, i understand now that these were original songs, well, written as if on a wire, so that everyone could understand even the russians, well, they were popular, even then shirma trusted rovda with the leadership their own" chapel, and when they soon moved to minsk, then shirma, while remaining the artistic director of his own capella, which now bears his name, he... the choir part, as

if the main choirmaster, offered to become rovda, of course, viktor vladimirovich agreed. and soon rovdo was invited to our conservatory to teach classes there with harmeisters. very soon he will head this department, and will remain until the very end.

he headed the belarusian radio and television choir, studied with one conservatory choir and with a radio and television choir, and sometimes on especially solemn occasions. cases, taking advantage of his official position and unquestioned authority... he united these choirs and performed with them some very large complex works.

and then one day, by the same combined cast , and even with a symphony orchestra, on the stage of the large hall of the belarusian state philaria, a three-part cantata by evgeny glebov kolakola, the authors of the texts, nikolai alekseevich altukhov, and i, here we are three authors, were sitting in the director’s box, and i could quite to see up close these magical hands of the conductor, well , i can’t describe it, much less understand it,

how it all happened, but in close-ups of the television broadcast, i saw that rovda was conducting not only with his hands, but with his fingers, they moved like a pianist’s, and what’s most amazing is that 150 people in the choir understood these secret movements, completely inaudible , it would seem from the outside, well, after the bells we met, and this man, a great... man, a great musician, began to raise his hat when he met me, of course, i answered him in kind, 150 people in the choir on stage, there is a theater or a philharmonic society, i dreamed of more, so just like the person i already talked about, the harmonica master gennady ivanovich, they dreamed of collecting 20,000 on

the singing field. they even chose a site near brest, but somehow everything didn’t work out, didn’t fit together, and they didn’t manage to accomplish what the estonian, ernesaks, and the lithuanian konredas kavyackas managed to do, they couldn’t do it, and both rovdy and tsvitovich regretted it to the end life. yakulaya. but in the early nineties there was an unforgettable last trip to moscow of the united choir of rovda, its last performance in moscow. why the latter? here's why: the moscow patriarchate decided to hold a kind of

competition. ussr choir festival and the joint choir of rovde took the first section. they performed in the second part. choirs, minina and chernushenko. and now the rovd ​​choir finishes the first part. finished the program. and the sophisticated moscow public does not let up, the applause does not stop. one more edging, avatsia, more, more, at this time there was a live broadcast to the entire soviet union. and video recording, but television, just like our program is limited there to 40 minutes, so there is a grid there, a grid of the program, and let’s say, after the performance

of some choir, the latest news comes on, there, that’s it, you can’t move anywhere, so moscow recorded and broadcast, live broadcast, the first part... with all the repetitions, with all the songs, with all the cants, with all the repertoire performed by the choir, the united choir of rovda, and the russian choirs simply did not write or broadcast, that’s why this was the last performance of the rovda choir in moscow, they did not invite more choirs to moscow. let's be proud of this, let's be proud,

and how good it is. songs, these are two volumes of such an anthology of belarusian folk songs compiled by grigory romanov shirma, he sang russian choral works.

and sacred music by tchaikovsky, rachmaninny. grechanin, arkhangelsky, chesnakov, vedel, kostalsky, it was impossible to sing, why? you know, our grief ideologists were confused by divine texts, but rovda could not, this well-known layer of the great russian sacred choral music, aside from what he does, he sings some requiems, some of them are all-night ones, there are also, that means, liturgy, sang without texts, or with slightly changed texts, it

sounded especially good when the performance was in praying churches, there is a completely different atmosphere, there is a completely different acoustics.

not often, but viktor vladimirovich came to his samurgon, looked at the places where his houses stood, almost nothing was preserved, but what made him happy, on a high hill according to the projectulia... bolin a temple was erected and viktor vladimirovich ordered a 25-pound bell, for which would father vladimir and waiting for his son, professor victor, a widow. i was making a film, and the song takes off on its own, about the work of the composer, songwriter, vladimir vladimiro olovnikov and how to get around it.

without his song about minsk, walking along a wide avenue, but the rovda categorically refused to perform this song to the score of the forties and fifties, and the phonogram recorded by ilya kleonsky, the predecessor of the rovda, he immediately told me: vladimir alexandrovich, let's invite not an arranger, but a composer. to ask who, he told me: “let’s invite andrusha to the sofa,” and andrey did a wonderful arrangement for the choir, it would seem that there was nothing to change, but andrei found some rhythm, some tempo, some, it turned out to be a completely new, completely fresh song, a song about minsk, and viktor vladimirovich rovdo conducted, and it seems to me , singing this song gave him pleasure.

one day, in a conversation, viktor vladimirov suddenly said that among the modern ones he really liked the song, doves fly, it seems, from some movie, he said, looking at me so questioningly, i said, well, yes, this is from absolutely. forgotten 1951 documentary, we for peace, he says: yes, this is isaac dunaevsky’s choral masterpiece, and usually at the end of the concert, viktor vladimirovich, ending it, performed this wonderful song by isaak danoevsky with his choir.

the kharists of rovda did not show their voices, they showed the piece they were performing, he taught them. fall into a blissful state, into unity with the conductor, when they sang, he said that your heart should beat differently when you sing, when he sought out the otharists, a natural vibrato in the voice, i listened to him like that, and he spoke so clearly and intelligibly that i wanted to immediately go out into the corridor or somewhere else.

implement his advice, sing also vibrate, do this very thing, that is, it was all figurative, without mockery, with humor and very warmly, very intelligibly, this is how victor rovdo worked, girls who still don’t understand, academicians, before victor goes to heaven vladimirovich, he had a philorret, i don’t know, maybe he confessed, if so, then the secret confession remains, but one thing, the bishop said that he was equal, that in his... all the time he took his wife from vilna, i will accept the opera

sofia antonovna, the voivode, regretted this, because here she devoted her whole life to her husband, having crossed out her opera career, and became simply an integral part of family life, when viktor vladimirovich passed away, she transferred all his personal belongings to smargon. in history as the raevchesky museum, and we went there, and took these personal belongings, his briefcase, his frag, his phone. his souvenirs, of course, his notes, scores, all of this is now carefully stored in the smargon museum and there is also a stand dedicated to this great musician. the neighbors are already giving exactly they won’t see viktor vladimirovich there, who

has been cutting down raspberries and dad for no more than two hours, he couldn’t stay there any longer. passers-by along the svislych embankment in minsk near this gazebo will no longer see such a gray-maned man in a long coat with a flowing scarf and humming something silently, but the main thing is not even this, as if suddenly after his departure the influx of voices that ... we replenished the choir and the conservatory, especially the radio choir, and it began to dry up, the salary fund of the radio choir began to shrink, the question arose about liquidating it altogether

collective, there was no longer the authority of the district police to go through the authorities and prove in general that this is the face of belarus. at this difficult, critical time, when the choir was on the verge of disbandment, the head of the television and radio company, gennady bronislavovich davdko, in a conversation with me in one, he said: “i don’t want to remain in the history of belarus, the boss who dispersed the rovda choir, i don’t want” , and somehow the choir was preserved, but nevertheless, although the choir exists, but..." the glory of the rovd ​​choir is in the past. in one of his last interviews, viktor vladimirovich said that all people

need, at least at the end of their lives, to realize who you came to this earth, what you did, what you wanted to do. what he didn’t do and confess at least to himself, these are his wonderful words that we should always remember , in life you can pretend, a fool will one day pronounce someone else’s word he heard somewhere , pretend to be smart, a greedy one day will take a ruble out of his pocket, pretend to be generous , a coward will one day clench his fists, pretend to be brave,

you can’t pretend to be alone in life, a talented, intelligent person, like viktor vladimirovich rovdo was,