Born on May 12, 1933 in Moscow. He started writing poetry while still in school. Being a big fan of Boris Pasternak's work, Voznesensky, while in the sixth grade, sent him his poems. The poet appreciated the teenager’s creative endeavor and invited him to visit. This determined the future fate of Voznesensky.
In 1957, Andrei Voznesensky graduated from the Moscow Architectural Institute (MARCHI).
In 1983, collected works were published in three volumes, in 2006 - collected works in seven volumes.
Voznesensky's cycle of poems "Antiworlds" (1964) was staged in the form of scenes and songs by the Taganka Theater, where Vladimir Vysotsky first appeared on stage with a guitar. The play “Take Care of Your Faces,” filmed immediately after the premiere, was also staged at Taganka.
The rock opera "Juno and Avos" (music by Alexei Rybnikov) based on Voznesensky's poem "Avos" in Lenkom and in other theaters in Russia, near and far abroad, gained enormous popularity and became a classic of the genre.
Many popular pop songs were written based on the poet’s poems, including “A Million Scarlet Roses” (music by Raymond Pauls), “Encore Song” (music by Raymond Pauls), “Start Over” (music by Evgeny Martynov), “The Girl Cries in the Machine "(music by Evgeny Osin), as well as many romances to the music of Mikael Tariverdiev.
Andrei Voznesensky also worked in the genre of visual poetry. He combined poetry readings with music and demonstrations of so-called videos. Exhibitions of these works - vidioms - were successfully held at the A.S. Museum of Fine Arts. Pushkin in Moscow, Paris, New York, Berlin. His author's evenings took place in many cities around the world.
Russian poet, prose writer, artist, architect. One of the famous poets of the sixties.
Born on May 12, 1933 in Moscow in the family of a scientist.
At the age of fourteen, as a 6th grade student, he sent his poems to Boris Pasternak and received an invitation from him to visit. This event determined Voznesensky's life. Friendship with the great poet, his personality, creativity, social circle, which Pasternak generously shared with his young friend - all this was priceless for the aspiring poet.
In 1957, he received a diploma from the Moscow Architectural Institute and celebrated this event with poetry:
"Farewell, architecture! Blaze wide, cowsheds in cupids, toilets in rococo!.."
The young poet's first publications in print appeared in 1958. In 1960, almost simultaneously, two collections of his poems and poems were published: “Parabola” - in Moscow and “Mosaic” - in Vladimir. They immediately attracted the attention of not only true lovers of poetry, but also official critics who scolded the poet. His entry into literature was “sudden, impetuous, stormy” and, from the standpoint of that time, unheard of daring.
The poet's trip to the USA in 1961 resulted in the collection "Triangular Pear" (1962).
In 1963, at a meeting with the intelligentsia in the Kremlin, Khrushchev sharply criticized the poet, and in the heat of the moment shouted to him: “Take your passport and get out, Mr. Voznesensky!” However, despite the temporary disgrace, Voznesensky’s poems continued to be published, and the circulation of his books reached 200 thousand.
In the 1960s, Voznesensky performed his poems in Paris (1963) and Munich (1967). In New York, performances were banned. Travels to Italy, France and other countries. Impressions from these travels become lines of poetry.
In 1964, the collection "Antiworlds" was published, in 1966 - "Achilles' Heart", then, in 1970 - "Shadow of Sound", in 1972 - "Look", in 1974 - "Release the Bird!", in 1975 - “Oak cello leaf”, in 1976 - “Stained glass master”, in 1979 - “Temptation”.
In 1979 A.A. Voznesensky takes part in the Metropol almanac.
In 1981, he published the book “Unaccountable.” In the early 80s, Voznesensky turned to prose, and in 1982 published the story "O", in 1984 - the book "Foremen of the Spirit. Prose and Poetic Works", in 1987 - the book "Rov. Poems and Prose", in 1990 year - "Axiom of self-quest", in 1991 - "Russia, Poesia", etc...
Based on the poet's poems, Yuri Lyubimov staged the play "Antiworlds" at the Taganka Theater, R. Grinberg staged the stage compositions "Parabola" and "Mosaic" at the Ivanovo Youth Theater, Alexey Rybnikov wrote the rock opera "Juno and Avos", and Mark Zakharov directed it in Lenkom; R. Shchedrin - "Poetry", A. Nilaev - oratorio "Masters", V. Yarushin - rock oratorio "Masters".
Contemporary Russian literature
Andrey Andreevich Voznesensky
Biography
Andrei Andreevich Voznesensky (born May 12, 1933 in Moscow - died June 1, 2010 in Moscow).
Father - Andrei Nikolaevich Voznesensky (1903−1974), participant in the construction of the largest hydroelectric power stations - Bratsk and Inguri. The surname clearly indicates origin from the clergy. Andrei Andreevich's great-great-grandfather, Andrei Polisadov, was an archimandrite and rector of the Annunciation Murom Cathedral in Posad.
Mother - Antonina Sergeevna Voznesenskaya, nee Pastushikhina (1905−1983) - also from the Vladimir region. Here, in Kirzhach, the future poet spent part of his childhood. During the war, his mother and Andrei, evacuated from Moscow, lived in the Trans-Ural Kurgan.
The wife is Zoya Borisovna Boguslavskaya, a famous writer, film and theater critic, initiator and coordinator of the Triumph Award.
Andrei Voznesensky showed a passion for poetry in his youth. Andrei Andreevich never mentions children's poems, although, obviously, they already showed talent. No wonder Boris Leonidovich Pasternak, having received them by mail from a fourteen-year-old boy, invited him to his place and then brought him closer.
Andrey graduated from the Moscow Architectural Institute (1957) and received a degree in architecture. But his life already completely belonged to literary creativity. In 1958, his poems appeared in periodicals, and starting with the poem “Masters” (1959), Voznesensky’s poetry quickly burst into the poetic space of our time, gaining recognition from millions of readers. “Your entry into literature is swift, stormy, I am glad that I lived to see it,” wrote Pasternak from the hospital.
At that time, poetry evenings in the hall of the Polytechnic Museum began to attract full houses, poets attracted audiences of thousands to stadiums, and became idols of millions. And one of the first in this wonderful galaxy was Andrei Voznesensky. His collections instantly disappeared from the shelves, each new poem became an event.
In 1960, the first collections of the poet’s poems, “Parabola” and “Mosaic,” were published. His stay in the USA (1961) was reflected in the cycle of poems “40 lyrical digressions from the poem “Triangular Pear” (1962).
Even then, the most perspicacious experts realized that in the person of Voznesensky, Russia received something that had never happened before. Even then they said that the cutting-edge, innovative, largely experimental poetry of Andrei Voznesensky embodies a unique synthesis of lyricism and philosophy, musicality and alarm bells ringing. The unusual rhythm of the verse, daring metaphors, and thematic “impulses” broke the established canons of “prosperous” Soviet poetry. That is why the angry cries of Soviet orthodoxies and simply envious people were heard even louder and more often. A poster has been preserved, produced in a huge circulation, where a worker sweeps away “ideological garbage” with a broom, in which the most noticeable booklet with the title “Triangular Pear”
In March 1963, N. S. Khrushchev, First Secretary of the CPSU Central Committee and Chairman of the Council of Ministers of the USSR, gathered “representatives of the artistic intelligentsia” in the Kremlin. Voznesensky was called to the podium. He did not have time to say even a few words when Khrushchev attacked the young poet with furious abuse, threatening to expel him from the country. A campaign of investigations and revelations began across the country. Voznesensky decided, just in case, not to appear in Moscow, wandering around the country where his admirers were always located.
He was lucky that even before Khrushchev’s abuse he managed to visit abroad. After the removal of Khrushchev, Voznesensky developed an ambivalent relationship with the authorities. He is sent abroad, but only occasionally, and not to all the invitations he receives. It is printed, but more often than not it is not printed. Each of his collections instantly disappears from stores (part of the circulation is simply taken by the nomenklatura). Over three decades, criticism has written about him only a few times.
But despite the silence, the enthusiastic veneration of fans remained unchanged - from the “sixties” to modern youth - manifested in the always crowded halls where the poet performed, in the “black market” prices for collections, in handwritten texts, in the essays of brave tenth graders.
A. A. Voznesensky is the author of two dozen collections of prose and poetry, including “Triangular Pear”, “Anti-Worlds” (1964), “Achilles’ Heart” (1966), “Look” (1972), “Cello Oak Leaf” ( 1975), “Stained Glass Master” (1976), “Temptation” (1978), “Selected Lyrics” (1979), “Unaccountable” (1981), “Foremen of the Spirit” (1984), “Ditch” (1986), “ Axiom of Samoiska" (1990), "Videos" (1992) (circulation of 1000 copies), "Casino "Russia"" (1997), "On the Virtual Wind" (1998), "Stradivarius of Compassion" (1999), as well as "Girl with persing”, “The terrible crisis of “Superstar””, “Fortune telling from a book” and others. In 1993, the magazine “Friendship of Peoples” published a dimensionless prayer sonnet “Russia is risen”. In 1983, a collection of works was published in 3 volumes. Currently, the Vagrius publishing house has begun publishing a 5-volume collected works of the poet.
Voznesensky’s cycle of poems “Antiworlds” (1964) was staged in the form of scenes and songs by the Taganka Theater, where V. Vysotsky first appeared on stage with a guitar. The play “Take Care of Your Faces,” filmed immediately after the premiere, was also staged at Taganka.
The rock opera “Juno and Avos” (music by Alexei Rybnikov) in Lenkom and in other theaters in Russia, near and far abroad, gained enormous popularity and became a classic of the genre.
Many popular pop songs were written based on the poet’s poems, including “A Million Scarlet Roses” (music by R. Pauls), “Encore Song” (music by R. Pauls), “Start Over” (music by E. Martynov) , “A girl is crying in a machine gun” (music by E. Osina), “New Moscow sirtaki” (O. Nesterov), as well as many romances to the music of M. Tariverdiev.
In recent years, having found a use for his “academic” specialty, A. Voznesensky worked in the genre of visual poetry. Always striving for a synthesis of the arts, he combined the reading of poetry with music and demonstrations of the so-called vidios. Exhibitions of these works - video - were successfully held at the Pushkin Museum of Fine Arts in Moscow, Paris, New York, and Berlin. His author's evenings took place in many cities around the world.
Andrei Voznesensky is the author of essays and articles on literature and art. He worked extensively and fruitfully on translations and actively participated in organizing author’s evenings for young poets. In 1979, he took part in the release of the unofficial almanac Metropol.
A. A. Voznesensky was the vice-president of the Russian Pen Center, and through his efforts and initiative the Boris Pasternak Museum was created in Peredelkino. He was elected academician and honorary member of ten academies around the world, including the Russian Academy of Education, the American Academy of Letters and Arts, the Bavarian Academy of Arts, the Paris Goncourt Brothers Academy, the European Academy of Poetry and others.
Andrei Voznesensky is a laureate of the USSR State Prize (1978, for the collection “Stained Glass Crafts Master”), and has twice received American awards. At the Paris Festival "Triumph" (1996), the newspaper "Nouvelle Observer" called A. A. Voznesensky "the greatest poet of our time."
Voznesensky Andrey Andreevich (1933 - 2010) - famous poet, prose writer, publicist of the twentieth century. At the age of 14 he sent his works to B.L. Pasternak, after which the great poet invited the young man to his place and contributed to the development of his talent. Andrei Voznesensky is an architect by education and a poet by vocation. He simply burst into literature after everyone began to read his poem “The Masters” (1959). The collections of his lyrics “Parabola” and “Mosaic” were instantly bought up by admirers of his work and read to their heart’s content.
His poetry has been called a synthesis of lyrics and philosophy, music and anxiety. He went against all the established canons of the “well-being” of USSR poetry. Khrushchev himself threatened to expel him from the country for this. His relationship with the authorities cannot be called unambiguous. It is sparsely published, zealously criticized, and sometimes published abroad. But fans read, copy the collections by hand and listen to his performances with pleasure.
A.A. Voznesensky wrote 20 collections of prose and poetry. Today, the Vagrius publishing house is preparing to release a five-volume edition of the works of the great poet of the 20th century.
The poet's poems became famous popular songs. For “A Million Scarlet Roses” alone, the poet could be considered a great songwriter.
He was married to Zoya Borisovna Boguslavskaya, who also belonged to the literary community. She also studied film and theater criticism. It was she who initiated and then coordinated the Triumph Award.
In recent years, Voznesensky has mastered the genre of visual poetry, writing so-called “vidiomes”. They were exhibited in museums of famous European capitals, as well as in New York. A. Voznesensky also wrote essays and articles covering key moments in literature and art, his translations were numerous, and many author’s evenings were organized. In 1979, the poet participated in the publication of the unofficial almanac Metropol.
As vice-president of the Russian Pen Center, considering B. Pasternak his mentor, Voznesensky created a museum of the poet. Over the years, he was elected academician and honorary member of 10 world academies.
In 1978, Andrei Voznesensky was awarded the State Prize of the Soviet Union. He received American awards twice.
A. A. Voznesensky was born in 1933. In the 50s of the 20th century, a fresh generation of poets entered literature, whose childhood was spent during the war, and whose youth happened in the post-war years. This replenishment of Russian poetry was formed in an atmosphere of rapid changes in life and the growing self-awareness of people. Together with poets of the older and middle generations, young authors tried to keenly grasp the demands of emerging life and literature and respond to them to the best of their ability. V. Sokolov and R. Rozhdestvensky, E. Yevtushenko and A. Voznesensky and many others, in their own themes and genres, images and intonations, addressing all kinds of artistic customs, tried to personify the qualities of the spiritual appearance of modern man, his tendency to intense reflection, creative search, proactive action.
The work of Andrei Voznesensky developed in a complex way. The poet’s extraordinary talent and his search for new possibilities of the poetic word immediately attracted the attention of readers and critics. His best works of the 50s, such as the poem “Masters” (1959), the poems “From a Siberian Notebook”, “Report from the Opening of a Hydroelectric Power Station”, convey the joy of work and the optimistic sense of life of a creative person. Voznesensky’s lyrical hero is full of thirst to act and create:
I'm from the student bench
I dream that the buildings
Step rocket
Soared into the universe!
However, sometimes at that time he lacked civic maturity and poetic simplicity. In the poems in the collections “Parabola” and “Mosaic” (1960), energetic intonations and rhythms, unexpected imagery and sound design sometimes turned into a passion for the formal side of the verse.
The poet Sergei Narovchatov, analyzing the book of Andrei Voznesensky “Master of Stained Glass,” traced the connection between its poetics and the art of stained glass. As you know, the connection between literature and fine arts is long-standing, but these days this “commonwealth of the muses” has become even stronger.
In A. Voznesensky's poems "The Grove", "The Beaver's Cry", "Evening Song" the idea is sharpened to the limit that by destroying the surrounding nature, people destroy and kill the best in themselves, putting their future on Earth in mortal danger.
In Voznesensky’s work, moral and ethical quests noticeably intensify. The poet himself feels the urgent need to update, first of all, the spiritual content of poetry. And the conclusion from these thoughts are the following lines about the life purpose of art:
There is a poet's highest goal -
Break the ice on the lid,
So that we can go warm up from the frost
And drink confession.
These impulses and aspirations were voiced in the books “Cello Oak Leaf” (1975) and “Stained Glass Master” (1976), “I Long for Sweet Foundations.” They also determined the appearance of other motifs, figurative strokes and details, for example, in the perception of nature. Hence - “Lovely groves of a shy homeland (the color of a tear or a harsh thread) ...”; “A dead pear tree, alone in the thicket, I will not disturb your beauty”; “Pine trees are blooming - candles of fire are hidden in the palms of future cones...”; "Fresh shavings are hanging from the bird cherry trees...". The poet admits to himself with some surprise: “It’s as if I see for the first time the lake of beauty of the Russian periphery.”
For the first time, Andrei Voznesensky's poems were published in Literaturnaya Gazeta. In the 70s, collections of poems were published: “Shadow of Sound”, “Look”, “Release the Bird”, “Temptation”, “Selected Lyrics”.
Voznesensky works on works of great poetic form; he wrote the poems “Lonjumeau”, “Oza”, “Ice69”, “Andrei Palisadov” and others. His poems naturally grow from his poems and rise among them, like trees among bushes. These poems are swift, the images do not get stuck on everyday life and scrupulous descriptiveness, they do not want to stall. Space is given in flight: “television centers beyond Mur are flying like a night cigarette.” The focus is on Time (with a capital T), epic Time:
I enter the poem
as they enter a new era.
This is how the poem Longjumeau begins.
The poet's reaction to the modern, vitally important is instantaneous, urgent, the ambulance and fire brigade of his words are round the clock and reliable. Painful, humane, piercing decisively and clearly characterizes the poet’s work.
All progress is reactionary,
if a person collapses.
Andrei Voznesensky also wrote articles on problems of literature and art, did a lot of painting, and some of his paintings are in museums.
In 1978, in New York, he was awarded the International Poets Forum Prize for outstanding achievements in poetry, and in the same year Andrei Voznesensky was awarded the USSR State Prize for the book “Stained Glass Master.”
Voznesensky's poems are filled with sound energy. The sounds flow freely, uninhibitedly and - most importantly - consciously. This is not a blind game of words, but a sustained youthful breakthrough towards meaning, towards essence...
Andrey Andreevich Voznesensky. Born May 12, 1933 in Moscow - died June 1, 2010 in Moscow. Russian poet, publicist, artist, architect.
Father - Andrei Nikolaevich Voznesensky (1903-1974), hydraulic engineer, Doctor of Technical Sciences, professor, director of the Hydroproject, Institute of Water Problems of the USSR Academy of Sciences, participant in the construction of the Bratsk and Inguri hydroelectric power stations, Honored Worker of Science and Technology of the Uzbek SSR.
Mother - Antonina Sergeevna (1905-1983), born. Pastushikhina, was from the Vladimir region. Andrei Andreevich's great-great-grandfather, Andrei Polisadov, was an archimandrite and rector of the Annunciation Murom Cathedral in Posad.
Voznesensky spent part of his childhood in Kirzhach, Vladimir region. During the Great Patriotic War, Andrei and his mother were evacuated from Moscow and lived in the city of Kurgan in the family of a machinist. Andrei studied in 1941-1942 at school No. 30. Later, remembering this time, Andrei Andreevich wrote: “What a hole the evacuation threw us into, but what a good hole it was.”
After returning from evacuation, he studied at one of the oldest Moscow schools (now School No. 1060). At the age of fourteen, he sent his poems to Boris Pasternak, whose friendship later had a strong influence on his fate. Graduated from the Moscow Architectural Institute in 1957.
The poet's first poems, which immediately reflected his unique style, were published in 1958. His lyrics were distinguished by the desire to “measure” modern man with the categories and images of world civilization, the extravagance of comparisons and metaphors, the complexity of the rhythmic system, and sound effects. He is a student not only of Mayakovsky and, but also of one of the last futurists - Semyon Kirsanov. Voznesensky wrote the poem “Kirsanov’s Funeral,” which was later set to music under the title “In Memory of the Poet” by Kirsanov’s great admirer David Tukhmanov (the song was performed by Valery Leontyev).
Voznesensky’s first collection, “Mosaic,” was published in Vladimir in 1959, and incurred the wrath of the authorities. The editor, Kapitolina Afanasyeva, was fired from her job and they even wanted to destroy the circulation. The second collection - “Parabola” - was published in Moscow and immediately became a bibliographic rarity. One of the best poems of this period, “Goya,” which unconventionally reflected the tragedy of the Great Patriotic War, was accused of formalism.
Voznesensky, along with Yevtushenko and Akhmadulina, aroused sharp rejection among some of the Soviet literary community. This rejection was also expressed in poetry - for example, in the poem “Fashionable Poet” by Nikolai Ushakov, 1961 (He once captivated youth with his changing weekly fashion. / So why are you, a handmade flower, / not blooming fashionably today?) or in a poem Igor Kobzev “To Komsomol activists”, 1963 (Shaking jazz serves as their weapon / And various overseas abstract nonsense. / They say they even have / Their own popular poet...).
On Gorky Street in “Windows of Satire” already in the 60s a worker is depicted sweeping out “evil spirits” with a broom - and among the evil spirits Voznesensky was depicted with the collection “Triangular Pear”. In March 1963, at a meeting with the intelligentsia in the Kremlin, Nikita Khrushchev sharply criticized the poet. To the applause of most of the audience, he shouted: “Get out, Mr. Voznesensky, to your masters. I will order Shelepin, and he will sign your foreign passport!” Voznesensky aroused no less sharp rejection among representatives of uncensored literature, whom the Soviet government did not allow into print, forcing them to publish their works exclusively in samizdat - for example, Vsevolod Nekrasov addressed Voznesensky with the following verses: “Listen \ Zhe \Ne ke ge be \ Wu \ Pa \ Not ke ge be Wu \ You understand \ You \ Zhe,” hinting that Voznesensky’s rebellious position was sanctioned by the KGB of the USSR.
Voznesensky repeatedly traveled to various foreign countries for performances: 1961 - Poland; 1961, 1966, 1968, 1971, 1974, 1977, 1984 - USA; 1962, 1966, 1969, 1976, 1977, 1983 - Italy; 1962, 1963, 1973, 1982, 1984 - France; 1967, 1977, 1983 - Germany; 1971 - Canada; 1964, 1966, 1977, 1981 - Great Britain; 1973 - Australia; 1968 - Bulgaria; 1981 - Mexico and many others. etc. He became one of the most popular Russian poets in the USA. Voznesensky became friends with the beat poet Allen Ginsberg and became a friend of Arthur Miller's family. His meeting with Marilyn Monroe was later captured in the lines: “I am Marilyn, Marilyn. / I am the heroine / Of suicide and heroin.”
A year after the collection “Triangular Pear”, Voznesensky’s poem “Lonjumeau” dedicated to Lenin was published. The collection of poems “Antiworlds” served as the basis for the famous performance of the Taganka Theater in 1965. For this performance, Vladimir Vysotsky wrote music and sang “Akyn’s Song” based on Voznesensky’s poem.
In the 1970s, Voznesensky began to be published quite well; he appeared on television and received the USSR State Prize in 1978, but in the same year he took part in the uncensored almanac Metropol (1978).
Voznesensky is the author of the architectural part of the monument “Friendship Forever” (together with Yu. N. Konovalov), erected in 1983 in memory of the bicentenary of the voluntary accession of Georgia to Russia on Tishinskaya Square in Moscow. The sculptural part of the monument was made by Z. Tsereteli.
Voznesensky was friends with many artists, whose meetings he recalled in articles and memoirs and biographical books. He was an interlocutor with Sartre, Heidegger, Picasso, and met with Bob Dylan.
Popular pop songs were written based on the poet’s poems: “The girl is crying in the machine gun”, “Give me back the music”, “I’ll pick up the music”, “Dance on the drum”, “Encore song” and the main hit “A Million Scarlet Roses”, where the poet in verse he retold Paustovsky’s short story about the love of the artist Pirosmani for the French actress. Voznesensky collaborated a lot with the author of the last four songs. The rock opera “Juno and Avos”, written on Voznesensky’s libretto by Alexei Rybnikov, was staged in 1981 by Mark Zakharov at the Moscow Lenin Komsomol Theater and has not yet left the stage. The most famous is the romance “I will never forget you,” based on the poem “Saga.”
He lived and worked in Peredelkino, near Moscow, next to the dacha-museum of Boris Pasternak, where twice a year, on February 10 (Pasternak’s birthday) and May 30 (the poet’s death day), he held poetry readings. Voznesensky’s book “I am Fourteen Years Old” is dedicated to his meetings with Pasternak.
The poet suffered his first stroke 4 years before his death. In 2010, Andrei Voznesensky suffered a second stroke, from which he never fully recovered.
Andrei Andreevich Voznesensky died on June 1, 2010 after a long illness at the age of 78 at home in Moscow. Death occurred from intoxication and intestinal obstruction. Voznesensky died in the arms of his wife Zoya Boguslavskaya, and before his death he whispered poetry. The poet's funeral service according to the Orthodox rite took place at noon on June 4 in the Church of the Holy Martyr Tatiana at Moscow State University. Andrei Voznesensky was buried on June 4, 2010 at the Novodevichy cemetery in Moscow next to his parents.
Personal life of Andrei Voznesensky:
He was married for 46 years to a writer, film and theater critic.
Poems by Andrei Voznesensky:
1959 - Masters
1964 - Oza
1972 - Maybe
1977 - Eternal meat
1979 - Andrey Polisadov
1986 - Moat
1993 - Russia is risen
Songs based on poems by Andrei Voznesensky:
“Hello” (music - Mikhail Litvin, performers - group “Rondo”);
“Anathema” (music - Valery Yarushin, performers - ensemble “Ariel”);
“April” (music - Evgeny Martynov, performer - Evgeny Martynov);
“Thank you” (music - Mikael Tariverdiev, performers - trio “Meridian”);
“In the world of friends” (music - Evgeny Klyachkin, performer - Evgeny Klyachkin);
“In my country” (music - Dmitry Varshavsky, performers - group “Black Coffee”);
“In my country” (music - Igor Nikolaev, performer - Alexander Kalyanov);
“Waltz by Candlelight” (music - Oscar Feltsman, performer - Maria Pakhomenko);
“Waltz by Candlelight” (music and performer - Sergei Nikitin);
“Waltz by Candlelight” (music - Sergei Baltser, performer - Sergei Baltser);
“Waltz by Candlelight” (music - Vyacheslav Malezhik, performer - Vyacheslav Malezhik);
“Give me back the music” (music - Arno Babajanyan, first performer - Sofia Rotaru. The song was also performed by Karel Gott, Renat Ibragimov, Muslim Magomayev, Karen Movsesyan, Raisa Mkrtchyan, Tamara Gverdtsiteli, Philip Kirkorov);
“I Believe in You” (music and performer - Evgeny Martynov);
"Where is your grave?" (music - Alfred Schnittke, performer - Valery Zolotukhin);
“Year of Love” (music - Arno Babajanyan, first performer - Ara Babajanyan, also performed by Lev Barashkov, Gennady Boyko, A. Musheginyan, Boris Moiseev);
“The Naked Goddess” (music - Igor Nikolaev, performer - Alexander Kalyanov);
“Far Song” (music - Oscar Feltsman, performers - VIA “Jolly Fellows”);
“Two Swifts” (music - Raymond Pauls, first performer - Olga Pirags, also performed by Alla Pugacheva);
“Twelve Days” (music - Igor Nikolaev, performer - Alexander Abdulov);
“Duet” (music - Raymond Pauls, performer - Aya Kukule);
“Will I Look at the Train” (music - Mikael Tariverdiev, performer - Mikael Tariverdiev);
“Remember this moment” (music - Mikael Tariverdiev, performers - trio “Meridian”);
“Eclipse of the Heart” (music - Raymond Pauls, first performer - Andrei Mironov, also performed by Valery Leontiev);
“And in your country” (music - Igor Nikolaev, performer - Alexander Kalyanov);
“Confession” (music - Valery Pak, performer - Valery Pak);
“Confession of a Mariner” (music - A. Iosifov, performer - Yordanka Hristova);
“Fly with Aeroflot planes” (music - Oscar Feltsman, first performers - VIA “Jolly Fellows”, also performed by Lev Leshchenko);
“It’s impossible to give up love” (music - Arno Babajanyan, first performer - Ara Babajanyan, then performed the song in a duet with Anne Veski, also performed by Irina Churilova and Karen Movsesyan);
“Moscow River” (music - Arno Babajanyan, performer - Lyudmila Zykina);
“Changing” (music - Viktor Reznikov, performers - Tõnis Mägi and Ivo Linna, from the film “How to become a star”);
“A Million Scarlet Roses” (music - Raymond Pauls, performer - Alla Pugacheva);
“My dear friend” (music - Dmitry Bikchentaev, first performer - Dmitry Bikchentaev, also performed by T. Klestova and I. Vasin);
“Muse” (music - Raymond Pauls, performer - Valery Leontyev);
“Ant” (music - Dmitry Bikchentaev, performer - Dmitry Bikchentaev);
“The twilight is not sharp over the arable land” (music - Mikael Tariverdiev, performers - trio “Meridian”);
“Start over” (music - Evgeny Martynov, first performer - Evgeny Martynov, also performed by Sofia Rotaru);
“Do not return to your former lovers” (music - Mikael Tariverdiev, performers - Galina Besedina and Sergey Taranenko);
“Don’t Forget” (music - Viktor Reznikov, performers - beat quartet “Secret”, from the film “How to Become a Star”);
“Don’t Disappear” (music - Mikael Tariverdiev, first performer - Joseph Kobzon, also performed by Galina Besedina and Sergey Taranenko);
“Don’t touch the man, little tree” (music - Mikael Tariverdiev, performer - Mikael Tariverdiev);
“New Moscow Sirtaki” (music - Oleg Nesterov, performers - Megapolis group);
“Nostalgia” (music - Mikael Tariverdiev, performers - trio “Meridian”);
“Nostalgia for the present” (music - Stas Namin, performers - Stas Namin’s group);
“Special Friend” (music - Raymond Pauls, performer - Sofia Rotaru);
“Ode to Gossips” (music - Vladimir Vysotsky, performer - Vladimir Vysotsky);
“In Memory of the Poet” (music - David Tukhmanov, first performer - Alexander Evdokimov, also performed by Valery Leontyev);
“Parisian Snow” (music - Arno Babajanyan, performer - Ara Babajanyan);
“Singer” (music - Vadim Baykov, performer - Vadim Baykov);
“First Ice” (music - Oscar Feltsman, performers - VIA “Jolly Fellows”);
“Akyn’s Song” (music - Vladimir Vysotsky, performer - Vladimir Vysotsky);
“Encore Song” (music - Raymond Pauls, performer - Alla Pugacheva);
“The Sandman” (music - David Tukhmanov, performers - group “Electroclub”);
“A girl is crying in a machine gun” (music - Oscar Feltsman, performers - Nina Dorda, VIA “Jolly Fellows” (under the name “First Ice”), Evgeny Osin);
“I’ll select the music” (music - Raymond Pauls, performer - Jaak Joala, also performed by Alexander Malinin, Valery Meladze, Ruslan Alekhno);
“Love the Pianist” (music - Raymond Pauls, first performer - Andrei Mironov, also performed by Valery Leontyev);
“White Fluff” (music - Arno Babajanyan, first performer - Valentina Tolkunova, also performed by Anna Litvinenko);
“Separation” (music - Oscar Feltsman, performers - VIA “Jolly Fellows”);
“The restaurant is rocking” (music - Igor Nikolaev, performer - Alexander Kalyanov);
“Wedding Gypsy” (music - V. Kesler, performer - Yuri Bogatikov);
“Candle” (music - A. Iosifov, performer - Yordanka Hristova);
“Hanging from the carriage platform” (music - Mikael Tariverdiev, performer - Mikael Tariverdiev);
“North of all” (music - Alexandra Pakhmutova, performer - Lev Leshchenko);
“You’re sitting, pregnant, pale” (music - Evgeny Klyachkin, performer - Evgeny Klyachkin);
“Paganini’s Violin” (music - Karel Svoboda, Z. Borovets), performer - Karel Gott);
“Snow in October” (music - Sergei Baltser, first performer - Sergei Baltser, also performed by T. Klestova and I. Vasin, ensemble “Ulenspiegel” (the latter called “Snow Regret”));
“Old New Year” (music - Stas Namin, performers - Stas Namin’s group);
“Old New Year” (music - Dmitry Bikchentaev, performer - Dmitry Bikchentaev);
“Dance on the Drum” (music - Raymond Pauls, first performer - Sofia Rotaru, also performed by Nikolai Gnatyuk);
“The Same” (music - Viktor Reznikov, performer - Viktor Reznikov);
“I want silence” (music - Mikael Tariverdiev, performer - Mikael Tariverdiev);
“Don’t leave me” (music - Raymond Pauls, first performer - Valentina Legkostupova, also performed by Alla Pugacheva);
“I killed the poem” (music - Mikael Tariverdiev, performer - Mikael Tariverdiev);
“You’re flying away, darling...” (music - Michel Legrand, performed by Lyudmila Senchina);
“Tape Recorder Man” (music - Raymond Pauls, performer - Valery Leontyev);
“Man of the St. Bernard Breed” (music - Vladimir Migulya, performer - Mikhail Boyarsky);
“My scarf, my Paris” (music - Mikhail Barashev, performer - ensemble “So-Net”);
“I am Goya” (music - Alexander Gradsky, performer - Alexander Gradsky);
“I’m Waiting for a Friend” (music - Yuri Chernavsky, performer - Mikhail Boyarsky);
“I will never forget you” (music - Alexey Rybnikov, first performer - Gennady Trofimov, in the play and then at concerts performed by Nikolai Karachentsov; also performed by Evgeny Shapovalov and the Meridian trio; now performed in the play by Viktor Rakov and Dmitry Pevtsov );
Rock opera “Juno and Avos” (music - Alexey Rybnikov);
“90%” (music - Aram Manukyan, performers - Aram Manukyan and rock duo “Hay Lao”)