Psa Korolenko. Our Yves Montan

Augustine says that we can help ourselves think about time, if we proceed from the fullness of the whole, for example, a song that I take to sing from beginning to end. She, in itself, is a whole, then it unfolds in time. What is this song? Early Christian anthem? Or human life? Or the praise to God, what is the "whole century", Totum Saeculum, the history of the world? Like Aristotle, in Augustine we know the time by changing the soul: time is a change in a change in, outside which there is no measurement of time. This is not psychologism. The song that Augustine is talking about is essentially the same as the melody (tone) of the presence, as Heidegger determines the mood in its fundamental ontology.

Vladimir Bibikhin, "Mir"

Our first meeting with Iv Montan took place in the late 50s. As you know, it was during these years that our Nikita Sergeyevich proclaimed a thaw , from which he began to slowly thin and melt the notorious iron curtain . And who does not know that formidable taboos to music in our country were no less strong than literature, and sometimes stronger. At first glance, this is strange, but it should be understood that music greatly affects the unconscious , so to strengthen the great taboos on musical phenomena was very wise from Stalin .

And after Stalin there was a thaw, and once something changed: sometimes relations with the Chinese , sometimes they took bribe takers with red-handed or something else, of course, yes, this is so, but in general there was a gap, stagnation, even under Khrushchev. And admission to Soviet culture was determined by the political image of the musician: he had to embody at least a small fraction of protest against bourgeois reality or at least fight for the world.

Yves Montan of those years perfectly fits the role of our distant friend - a young, charming, captivating Self in his turtleneck in tightening and in charters, he masterfully played a democratic image of a simple good guy from the workers of Paris. '' I'm not a millionaire, but I like to walk along the big boulevards, look at the windows of the window '', he sings. The Parisian Gamen, an ingenuous street kid who never discouraged a driver, a cheerful girl factory with a warm nickname Tournesol (sunflower) - characters of his songs of the 50s. It was these songs that then scrolled the first on the radio, Sergei Obraztsov , who gave us Iva Montana.

The success of the singer’s upcoming tour in Moscow was easily predicted, especially if you take into account the democracy of these songs - an unpretentious person -conjunction composition, a penetrating voice and elusively familiar intonations. Iva Montana was waiting for Moscow, and he appeared not alone, but with his wife Simone Signor , comforting this male half of his hot fans. At Montana's concerts, we discovered the type of chansonnier, a singer focusing on himself for a half to two hours and not leaving anyone indifferent. The ingenious stage find - the soloist alone on the stage and the ensemble behind the tulle curtain - gave the performance of Montan an additional quasi -ymal effect. In the programs received by the audience, the plot of each song was presented in Russian in five to seven phrases, from which Montana, a simple French guy, indirectly denouncing capitalism and already the fact of the arrival of peace fighting for the world, revealed.

Moscow did not want to release such a Montana home, and in consolation it was given two long -playing records of the Iva Montana concert and a lot of records for 78 revolutions, with almost every song that sounded at those concerts. Some songs, however, did not fall into these grampers, being flooded with censorship-for example, the All-European hit C'est Si Bon , or because of the text that seemed frivolous (the version of my mother, who did not miss any of the concerts of Montan), or due to too clearly bourgeois music.

When Montan left, we all believed that he would return , because even in his autobiography by the Sun, it was full of head that he hopes to visit Russia again and return to Paris by traveling through China . This statement is very characteristic of the fashion for communism that existed in a certain part of French society. In Russia, in turn, then the fashion for France is growing, an important mythology of Russian-French friendship, with Normandy-Neman and a meeting on Elbe , with the heroic Edith Piaf as a participant in resistance, with the day of the capture of the Bastille and a fee for fear , is completely formed. Mokrousov’s song to Ostrovsky’s poems, where Montana’s thoughtful voice rhymes gently with Parisian chestnuts, circled all the corners of Russia, Bernes himself sang it, an authentic Soviet chansonnier.

So it was until 1968, and then the ill -fated Montan condemned our invasion of Prague , and friendship gave Professor. In Russia, negative myths about Montana were formed, more or less corresponding to reality. The most famous and vivid such myth is that the wife of Simon Signor Simon Signor scolded Soviet rags and took some examples to France - laugh. Many even thought that it was she, not Prague - the cause of the quarrel. Well, what, to some extent, is true: as the French say, Sherche la Fam. Since then, the name Montana has been diligently exhausted from the pantheon of the French chansonnier, officially cultivated in the 70s. In numerous weeks of French -Soviet friendship A la Brezhneff , he no longer had a place - all the more, he had the most directly related to the transfer of L'Apostrophe , which so cordially accepted Solzhenitsyn . And in France, such a strong fashion for Moscow passed.

The posthumous return of Montana to Russia in the nineties became possible, like much more, thanks to perestroika. His songs began to spin on TV and radio, a vinyl disk came out, on the cover of which a huge Santa Claus ( Leonid Utesov ) congratulates the tiny cute Iva Montana and gives him something. A few years later, on a pitch, and not only on it, both audio cassettes and sidyuki appeared.

In 1998, we with inhuman music provided the people's eyes with the conceptual Rome of Old Belief concerts Montana. The program was called a meeting with freedom - Rendez -Vous Avec La Liberte . The concert was interspersed with my rappers - a chorus 2 times , Pinocchio was stupid , pizza . At the poster, Montan was depicted in the form of rapper, naked to the waist. The classic, academic performer Lev Sleptner, who played in my "Montana" on the drums, was amazed at what happened. They say that he was surprised after the concert: “How could Pasha undress to the waist during the performance of the song Coeur de Mon Coeur ? For example, I invited smart people, culturalists, art historians to a concert, and what did they see there? A naked hairy body?!” He personally told me something like that. I had to patiently and patiently explain to him that in Coeur de Mon Coeur a real Montan always undressed to the waist, and we have a RIMACK, so that everything needs to be reproduced. (In fact, this is not true, Montan has always sang dressed.)

Of course, in our concert Montana there was a lot of energy, drive. Maybe even more than that Montan, the present. What can I say, even if Misha Verbitsky - and he recently called this concert too aggressive in a conversation with me. But what else can the view of young adult Russia on that idol from whom our young mothers and grandmothers came into ecstasy? This is not so much aggression as the actual power itself is Kundalini. She sings in us, she overwhelms us, sometimes you don’t know what to do with her. And then myths come to the rescue, giving the form of this unpredictable, wild elements. Montan is one of these forms that expects its content, new interpretations, unexpected interesting meetings.

Everyone has their own Montan. And we have, of course. Yes, what! No one probably has such a Montana. Ours, Soviet, good. Our Yves Montan. And we love him very much. And we will never give any French.