Dear friends, today we will continue our conversation about the poet of the first wave of Russian emigration, Alexander Mikhailovich Perfilyev, a man of difficult fate and ambiguously perceived biography. My acquaintance with his work happened by accident. His poem “Words” caught my eye. I read it. Liked<

The words are very different:
words are like faded leaves...
Words are unnecessary and idle,
there are stupid words.
The words are beautiful and sonorous,
words, where wisdom springs,
words drooping and boring,
like a wounded heart's cry.
Words of love, sadness, jealousy,
burning like lanterns
a long time ago from ancient times
they were collected into dictionaries.
But there are also those that are unsaid,
I wanted and could not say -
they are connected with the soul and heart,
you can't find them in the dictionary
They are not repeated a hundred times,
like an erased cliché
they are born in the same soul,
to die in another soul.

A. Perfilyev

There was a desire to get to know him and his work better. I learned a lot of interesting things about him. Thought this might be interesting for you too. This is the second message dedicated to the poet, as if a continuation of the message “Oh, those black eyes!” On the issue of authorship"

PERFILIEV Alexander Mikhailovich (pseud. Alexander Lee, Sherry-Brandy) (1895-1973), Russian poet. After the revolution of 1917 he lived in Latvia; after 1945 in Germany.

On October 2 (September 20), 1895, in Chita, Alexander Mikhailovich PERFILIEV was born into a family that traced its family back to the ataman, an associate of the legendary Ermak. Together with Georgy Ivanov* he studied at the Second St. Petersburg Cadet Corps. During the First World War he fought in Cossack units, was wounded several times, and was awarded the Cross of St. George. After 1917, he was arrested by security officers and had difficulty moving to Latvia. In Riga he published collections of his poems “Snow Mass”, 1925; "Leaf Fall", 1929; “Wind from the North”, 1937, wrote a lot for local Russian-language newspapers and magazines. The ups and downs of World War II brought him to Germany, where he remained after the war and began working at the Radio Liberty station. He wrote feuilletons, stories (collection “Man Without Memories”, 1946), poems. The final book "Poems", published in 1976 ex-wife poet I. E. Saburova)*. In the 50-70s, his poems were periodically published in a number of publications in Russian and Cossack countries abroad. In the 50-60s he collaborated with the “General Cossack Magazine” /USA./

His collections “Snow Mass” (1925), “Falling Leaves”, “Wind from the North”, “Lonely Mother”, “Poems” and “Literary Heritage” are being sought.

Perfilyev owns the texts of some famous songs and romances of the 30s, including “Oh, these black eyes...”,<Мое последнее танго>(music by O.D.Strok). **
A.M. died Perfilyev in 1973.

Music by Oscar Stroke
Words by Alexander Perfilyev

Do you remember this meeting with you
In beautiful warm Marseille,
Where were you and I sitting?
The blue surf hit the shore,
But everything rushed away like a dream.

I hugged your gentle figure
And kissed your mouth.
Don't forget that meeting with you,
When you said goodbye to me.

Bye Bye!
Farewell, my dear!
I send you my last tango.
I loved you so much, I suffer so much
But you didn't know my heart.

Bye Bye!
Farewell, my dear!
I will never love anyone else in my life.
And I only remember about you
And I send you my last tango.

Black eyes: An ancient Russian romance. – M.: Eksmo Publishing House, 2004.

From the repertoire of Pyotr Leshchenko (1898-1954). Recorded by Columbia (England or branch), 1936-1937, WHR803..

Full lyrics
words by A. Perfilyev, music by O. Strok

It was an autumn day, and the leaves were sadly falling.
In the last asters there was a crystal vein of sadness.
You and I didn’t know sadness then.
After all, we loved, and spring bloomed for us.

Oh those black eyes
I was captivated.
They can never be forgotten -
They are burning in front of me.
Oh those black eyes
I was loved.
Where have you disappeared to now?
Who else is close to you?

It was a spring day. Everything flourished and rejoiced.
The lilac turned blue, waking up sleeping dreams.
You shed tears inconsolably.
You didn’t love, and you said goodbye to me.

Oh those black eyes
They will destroy me
They can never be forgotten -
They are burning in front of me.
Oh those black eyes
Who will love you
He will lose forever
And heart and peace.

A. Perfilyev

Music and lyrics by Oscar Strok

Yesterday I saw you by chance,
You barely knew about this.
I've been watching you secretly all the time,
MEANING HAS FOGED THE SADNESS.

Memories came flooding back
The spells of former days have been resurrected.
And the flame of the old desire
It lit up again in my blood.

Tell me why
We were separated from you?
Why did you leave me forever?

But you left. Tell me why?

Yesterday I saw you by chance,
You barely knew about this.
I've been watching you secretly all the time,
YOUR LOOK IS HAZED WITH SADNESS.

Memories came flooding back
The spells of former days have been resurrected,
And the flame of the old desire
It lit up again in my chest.

Tell me why you and I were separated,
Why did you leave me forever?
Because I know that you loved me,
But you left, tell me why.

Tell me why you and I were separated,
Why did you leave me forever?
Because I know that you loved me,
But you left, tell me why.

There is a very high probability that this particular version
written by A.M. Perfilyeva. The difference is just one line:
1 version:

Melancholy was clouded by sadness.

Agree, for A.M. Perfilyev the phrase is unacceptable and ridiculous.

Version 2:

Your gaze was clouded with sadness. - But this is A.M. Perfilyev.

FROM THE POETIC HERITAGE OF A.M. PERFILIEV

OCTOBER

Today and the past are not even a burden to me,
I live without reproaching anything,
I am an artist in love with autumn's goodness
October's weary steps.

Today I don’t believe in dreams or stories
About the deep secrets of the seas,
Because nowhere, no divers
You won't see such ambers.

In the shimmer of its dying colors
Dreams were combined...
In the fluttering of leaves - the revival of dances
A forgotten ancient country.

And when will he sweep along the dead boulevards
Burnt out flames of lights -
I, filled with new pain about the old,
I'll disappear into the craziness of the days.
<1929>

Only yesterday they buried Blok,
Gumilyov was shot. AND
Time has somehow moved cruelly,
Squeezing your rough palms.

Just yesterday I was knocking on the roof, on the doors
The city of two wars - shame and victories -
Only yesterday about inspiration, in Hiere
Dying, the poet wrote.

All the years, events have become closer,
Merging friends and enemies together...
Between St. Petersburg and Paris
The distance is several steps.

So the last line contained
The sum of grief, happiness, nonsense,
And the point solemnly closed,
Like the eyes of a dead man - poetry.

Nonsense

I began to live in the nonsense of war,
As soon as he matured, he straightened his shoulders.
As if we were born for this,
To hurt yourself and everyone around you!

The freight car replaced our house,
Minutes of truce - stops,
To have time to go get boiling water,
Eat a crust of bread, dry your footcloths...

Love, dropping embers of warmth,
It smoked, smoldered... and did not flare up.
After the war there was another war...
Life is over. The nonsense remains.

Alexander Perfilyev

Alexander Perfilyev. Autobiography experience

Autobiography is a pretty boring thing. It seems inconvenient to praise yourself, but to scold yourself lacks courage and experience. Due to a certain professional integrity, I leave it to the critics to do this. The more convenient it is to swear.
He started writing very early: from the age of five. I don’t know what fate befell my first humorous work, but I can say that the fee I received then was much more decent than what I receive now, after fifteen years of work in this industry.
The essence of my first experience was very simple: writ of execution, sent to my grandfather, I inscribed some Kabbalistic signs and poured a lot of ink on the sheet.
Grandfather, seeing the first product of my free creativity, exclaimed:
- But the boy is right: they won’t get a damn thing from me on this sheet anyway!
Now about the remuneration: it can be divided into two parts - a fixed fee and a fee.
My fix was that I stood in the corner every day. I received the fee from my grandmother, in the form of a more delicious dinner than always and a large saucer of jam, secretly given to me in the kitchen so that my grandfather would not see.
At the same time, the grandmother shook her head reproachfully and said: “Oh, you humorist!”
It was probably from this time that I became a comedian. It should be noted that now I write incomparably more and for this not only do I not receive an advance from the cashier (slowly, so that the publisher does not see), but I even often sit without lunch at all.
I refrain from giving more detailed information about my childhood, youth, and so on. Readers can probably find all this in the archives of the late poet and biographer Pyotr Vasilyevich Bykov, the first critic to note the appearance of my poems in the magazine.
I think that this venerable old man will also have my obituary, just in case.
Among the famous writers I knew well: Dostoevsky’s wife Anna Grigorievna and the obstetrician, assistant to Professor Otto, Doctor Ivan Vasilyevich Sudakov.
Here I may be accused of some inaccuracy: I understand that Dostoevsky’s wife is not Fyodor Mikhailovich himself, but I really couldn’t be acquainted with a man who died before my birth? It is enough that I knew his wife.
And I bring Dr. Sudakov for the reason that he was a direct and close collaborator at the moment of my birth. And since this venerable aesculapian was very fond of Russian classical literature, this, obviously, had a purely intuitive influence on my whole life. In short, he, through obstetric forceps, conveyed to me his love for the classics.
The only dark spot in my life is the fact that I still cannot accurately determine my real profession.
Cossack officer, horse breeder, poet, fiction writer, feuilletonist, roofer, painter, river policeman, commission agent, firewood loader, mounted policeman, concrete worker, shot with a check, newspaper publisher, janitor, refugee, alcoholic, and three times married.
As an example, I can say that when I was a Cossack officer, it seemed to me that I should be a poet and writer of fiction.
After the revolution, when I began to live exclusively on literary earnings, I envied the fate of my apartment neighbor, a river policeman, who received a “sea ration” - one and a half pounds of bread a day.
Now, having experienced all the professions I have listed, I can say that they are all good only at one moment: when you receive money (excluding, of course, the professions: shot, refugee, alcoholic and thrice married).
In terms of passport, it is best to be, without a doubt, a janitor.
Currently, I have come to the conclusion that the best profession is to be shot. The calmest thing.
Unfortunately, for reasons beyond my control, I only experienced half of it.
The worst thing is to be married three times. This position, it seems to me, does not need any comments.
Now about the signs:
Actually, I have a lot of them, but the most important ones, according to the unanimous conclusion of all three of my wives, are the following: unshaven and without money.
If you ask your friends, they will say: he is dangerous when drunk - he writes and recites lyrical poems.
I’ll add on my own: I have a purely refugee love for changing pseudonyms. Firstly, it is convenient for creditors, and secondly, for receiving an advance.

Alexander Lee. Experience of autobiography // Grimaces of the pen. Riga: Literature [undated; 1928]. pp. 169 - 171.

Preparation of the text © Larisa Lavrinets, 2006.
Publication © Russian Creative Resources of the Baltic States, 2006.

Oscar Strok (1892, Daugavpils - 1975, Riga), “king of tango”, a graduate of the St. Petersburg Conservatory, lived in Riga, created his most famous works in the 20-30s, during the times of independent Latvia.

Ancient... But once upon a time not a single party was complete without tango. Tango was fashionable: they danced to tango music, they composed songs to tango music, they played tango from the stage and in parks. Few people know now, but back then there were summer stages everywhere in city parks and concerts were held there on Sundays.

And in the courtyards in the summer in the evenings they often took the gramophone out into the yard, put it on a stool and danced to the wonderful music of waltzes and tangos.

Tango

When they talk or write about tango, they always remember the phrase “Tango is a vertical expression of horizontal desire.” The phrase is attributed either to a waitress from a restaurant in Buenos Aires, or to Borges, or to Bernard Shaw. But, no matter who said it, this phrase briefly and succinctly characterizes this Argentine folk dance of free composition with an energetic and clear rhythm.

The dance is romantic and loving in temperament, with gentle touches. In overt movements there is submission and strength, disobedience and perseverance. A dance in which the beauty of movements is subordinated to rhythm - this is clearly visible in our figure skaters Pakhomova and Gorshkov, dancing to “Kumparsita”.

From Argentina, the dance came to Europe at the very beginning of the twentieth century, when dancers and orchestras from Buenos Aires and Montevideo went to Europe, and the first European tango show took place, first in Paris, and then in London, Berlin and other capitals. For the prim “old lady” of Europe, tango brought variety to dance rhythms. And in Russia, they added a special “restaurant chic” to the passion of dance - while dancing, the man held his partner in one hand and a glass of champagne in the other.

Before the outbreak of World War I, at the end of 1913, tango again crossed the Atlantic and came to New York.

In the 20s, tango became a regular in restaurants, nightclubs, and salons. Argentine emigrants earned money by teaching exotic dance to everyone. But in the Old World, tango lost its special South American wild charm - Europeans instilled in tango severity and restraint, which it was deprived of before.

The golden age of tango was the period 1930 - 1950. It was then that melodies were born that, without any exaggeration, can be called masterpieces.

Splashes of champagne

This amazing tango is, without exaggeration, one of the most outstanding musical compositions of the twentieth century (the original name is “Espuma de Champagne”). The melody was composed in 1935 by Jose Maria de Lucchesi and this tango was performed by the orchestra he led.

Almost nothing is known about the author of the music that has been captivating listeners for three quarters of a century. Even in Argentina, no one knows the dates of birth and death, no one knows in which city he was born and where he died, there is no biography of him anywhere.

It is only known that in the 1930s, Luquiesi lived in Argentina, first working as a music teacher, and then leading an orchestra. In 1937, in the Soviet Union, the tango “Espuma de Champagne” was released on gramophone record under the title “Champagne Splashes”.

All. Until 2016, there was no article about Lukiesi on Wikipedia, and even then, the article that appeared there only refers to unconfirmed data in bibletango.com, incl. and dates of life. In general, there was a man, and there is no man, only “Splashes of Champagne” remained.

This is a recording from an old gramophone record from 1937, where it says “orchestra under the direction of Lewisy” - the author’s surname was reprinted by the Soviet gramplattrest from a foreign record as Lewisy, which can be seen on the record labels. And later they put Oscar Strok as the author (by the way, without his knowledge).

Black eyes

This first tango by Oscar Stroke was written in 1928 and was first performed, one might say, throughout Europe in 1929. It was recorded on a record by “His Master's Voice” performed by Marek Belousov and the Berlin orchestra. As music critics wrote, “Oscar Stroke’s tango called “Black Eyes” has no equal,” Oscar Stroke became a European celebrity.

The secret of the appearance of this melody was revealed in 1994 by Vera Oskarovna, the composer’s daughter, in one of the Russian television programs: “ ..Already being family man, father unexpectedly fell in love with a very beautiful girl with black eyes. Strok’s affair with her did not take place, but this passion became the impetus for composing an inspired work, which turned out to be the tango “Black Eyes”».

Words... Yes, words! They were written by Alexander Mikhailovich Perfilyev, a former tsarist officer, Knight of St. George, and participant in the White movement. Therefore, under the Soviet regime, they tried not to remember the author. And on gramophone records the authors were often not indicated at all.

“Black Eyes” performed by Pyotr Leshchenko

Rio Rita

The famous tango “Rio Rita”, without which almost no film about the pre-war period can do, is a “classic” tango. Its original name - "Fur dich, Rio Rita" (for you, Rio Rita) - is a dedication to the restaurant.

At different times, this melody was performed in different dance rhythms - paso doble, foxtrot, tango.

The melody was born in 1932 as a result of the joint work of two Spaniards - composer Enrique Santeuhini and Juan Lossas, who was called the “king of German tango”.

In the 1930s, Enrique Santeuhini came to Germany, which at that time was almost the world's musical center, and met in Berlin with the conductor and composer Juan Lossas, who composed many beautiful tangos. Lossas has his own orchestra, with which he performs in Berlin restaurants. When they meet, two Spanish composers try to remember classic Spanish serenades and Mexican rancheras. Santeuhini plays to Lossas the ranchera “Adios, madresita!”, which he heard in childhood from a bullfighter he knew. Lossas is delighted and writes an arrangement.

This is how the paso doble “Adios, madrecita” was born, which is recorded on a record. Santeuhini writes on the released album “Fur Dich, Rio Rita”. Santeuhini and Lossas donate their work to the new Berlin restaurant Rio Rita.

The first recordings of the future hit with the name “Fur dich, Rio Rita” were made by the orchestra conducted by Otto Dobrindt, who performed under the creative pseudonym Eddie Saxon, in Sweden and Germany in 1932. The authors of the German text are O. Adam and J. Brest (O. H. Adam, J. Brest).

The most famous in our country was the recording of this tango performed by the famous orchestra conducted by Marek Weber. It was a dance version with castanets, without words.

Tired Sun

The name “Weary Sun” appeared much later than the creation of this tango, and is not the only one. Original title: “To Ostatnia Niedziela” (“Last Sunday”), created in 1936. The author of the music is Polish pianist and composer Jerzy Petersburski (1895 – 1979).

Jerzy Petersburgsky wrote music for cabarets and theaters in Warsaw, composed many waltzes and foxtrots, and two operettas. Wrote songs for Alexander Vertinsky. But he is best known as the author of tango. His famous tango “Oh, Donna Clara” was performed by the most famous Western European singers and orchestras, first performed by Mieczyslaw Fogg, and later enjoyed particular popularity in Poland performed by Piotr Fronczewski.

By the way, Jerzy Petersburg is also the author of the famous song “Blue Handkerchief”.

This tango, together with another Polish tango “Smutna Niedziela” (“Gloomy Sunday”), received Eastern Europe another name is “Suicide Tango”. To the music of these tangos, which evoked sadness and sad, even tragic words, during the difficult and hopeless years of the ongoing Great Depression, bankrupts and simply desperate people took their own lives in complete hopelessness.

During World War II, the Nazis often played the recording “To Ostatnia Niedziela” in concentration camps as they led Jewish prisoners to the gas chambers.

In the USSR, the Russian text was written by Joseph Alvek:

This text is simply sad, it is much “softer” than the Polish original, which is both emotional and dramatic. In 1937, this tango called “Parting” was first performed by the orchestra conducted by Alexander Tsfasman and his permanent soloist Pavel Mikhailov. Subsequently, the song was sung by Georgy Vinogradov, Leonid Utesov, Joseph Kobzon and other famous performers.

In our country there were two more, less well-known versions of this tango. One, “Song of the South,” 1938, based on poems by the Leningrad poetess Asta Galla, was performed by Klavdia Shulzhenko. Another, “Leaves Fall from the Maple Tree,” 1938, based on poems by Andrei Volkov, was performed by the Jazz Quartet under the direction of Alexander Rezanov.

Besame mucho

This is the most recorded song, one of the most famous songs of the 20th century. It has been translated into more than two dozen languages ​​of the world, and its performers, at least worthy of attention, are more than two hundred. In addition to the song, there are many more instrumental versions.

The original title “Besame Mucho” roughly translates to “kiss me hard,” “kiss me passionately,” “kiss me very hard, a lot.”

"Besame Mucho" in 1944, performed by Jimmy Dorsey and his orchestra, became the first Mexican song to win the hit parade held in New York. Singer Emilio Tuero became the first performer of a worldwide hit.

Consuelo Velazquez wrote many more songs, but none of them could match the popularity of "Besame Mucho".

Dalida

Since 2009, “Besame Mucho” has been chosen as the official motto of the city of Mexico.

Blooming May

Artur Moritsevich Polonsky (1899 - 1989) wrote the tango “Blossoming May” in the late 40s based on the foxtrot “Dessau”, which he composed back in 1930. On his first record there were two foxtrots - “Dessau” and “Odessa” .

After the war, when A. Polonsky worked as the music editor of the All-Union Radio Committee, he began to play the melody of the foxtrot “Dessau” in the presence of the composer, accordion player B.E. Tikhonov (1919-1977), who created the first instrumental quartet in the USSR. At his request, Arthur Polonsky arranged this play for a small pop ensemble, and in May 1948 the slow foxtrot “Blossoming May” was born.

In June 1948, “Blooming May” was performed and recorded by: Boris Tikhonov (accordion), Mikhail Lanzman (clarinet), Ivan Klyuchinsky (trombone), Alexey Kuznetsov (guitar), Alexander Rosenwasser (double bass), Boris Mirkin (drums) and Arthur Polonsky (piano).

Soon “Blossoming May” became extremely popular in our country. This tango is best known among us when performed by an orchestra conducted by V.N. Knushevitsky; this is, so to speak, its “classical” performance.

Tango Nightingale

This music was composed by the completely forgotten composer of the 30s, Yuri Bogoslovsky (not to be confused with Nikita Bogoslovsky). Moreover, it is so forgotten that practically nothing is known about him, like about Lyukesi, and even on the record with “Tango of the Nightingale”, released in 1964 by the Melodiya company, N. Bogoslovsky is indicated on the label instead of Yuri Bogoslovsky.

The tango performance is very unusual; a rare genre is used - artistic whistling. Tango was recorded on record in 1940 by a concert ensemble led by F.F. Krisha, artistic whistling solo was performed by Taisiya Savva.

You can read more about the performer in the almost detective investigation “In the footsteps of the Nightingale Tango” at http://www.gazeta.lv/story/20478.html.

little flower

This tango in the rhythm of a slow foxtrot leaves no one indifferent. In the 50s, people in our country loved this melody; in the summer in the evenings they would take the gramophone out into the yard, put it on a stool and dance and dance...

This wonderful, bewitching melody was composed by Sidney Joseph Bechet (1897-1959). He comes from New Orleans, the birthplace of jazz. Naturally, he could not stay away from jazz, and secretly from his parents he began to learn to play the clarinet, and at the age of 11 he was already accepted into a jazz band.

He was the first to play jazz on the soprano saxophone. His performances and recordings were not only successful, but sometimes even surpassed those of Louis Armstrong in popularity. Later, these two great jazz players played a lot as a duet. S. Bechet in 1924-1925 made a tour of Europe, performed incl. and in Moscow.

In the 50s, Bechet lived in Paris, and in 1952 it was there that he wrote his world-famous hit called “Pettie Fleur.”

“Little Flower” performed by the orchestra conducted by Fausto Papetti.
3:28

Kumparsita

One of the most famous tangos in the world and one of the very first tango hits. Its original name is “La Cumparsita”, the tango was written by a Uruguayan student Gerardo Rodriguez in 1914 (according to other sources - 1916) and was first performed in the cafe “La Giralda” in Montevideo, the capital of Uruguay. The author was 17 years old at that time; he could not even imagine that he had composed one of the most famous tangos in the world, for the authorship of which he would also have to fight.

Panasonic and the Russian Railways Museum

Vladimir Dunkovich: Stage mechanics control systems.

Synchronization. New level of show. OSC for the show

Maxim Korotkov about the realities with MAX\MAX Productions

Konstantin Gerasimov: design is technology

Alexey Belov: The main one in our club is a musician

Robert Boym: I am grateful to Moscow and Russia - they listen to and understand my work here

pdf "Showmasters" No. 3 2018 (94)

Four concerts from one console at the Munich Philharmonic Gasteig

20 years of Universal Acoustics: a story with continuation

Astera wireless solutions at Russian market

OKNO-AUDIO and seven stadiums

Ilya Lukashev about sound engineering

Simple Way Ground Safety - safety on stage

Alexander Fadeev: the path of a beginning lighting artist

What is a rider and how to compose it

Stupid way to process a barrel

pdf "Showmasters" No. 2 2018

Panasonic at the Jewish Museum and Tolerance Center

Concerts "BI-2" with orchestra: traveling gothic

Dmitry Kudinov: happy professional

Sound engineers Vladislav Cherednichenko and Lev Rebrin

Lights on Ivan Dorn's "OTD" tour

Ani Lorak’s show “Diva”: Ilya Piotrovsky, Alexander Manzenko, Roman Vakulyuk,

Andrey Shilov. Rental as a business

The Matrex social and business center in Skolkovo will rightfully become one of the new symbols of Moscow, not only in the architectural, but also in the technical aspect. The latest multimedia systems and solutions that are ahead of their time make Matrex unique.

The Matrex social and business center in Skolkovo will rightfully become one of the new symbols of Moscow, not only in the architectural, but also in the technical aspect. The latest multimedia systems and solutions that are ahead of their time make Matrex unique.

Everything I know I learned on my own. I read, observed, tried, experimented, made mistakes, remade again. Nobody taught me. At that time, there were no special educational institutions in Lithuania that taught how to work with lighting equipment. In general, I believe that this cannot be learned. To become a lighting designer, you need to have something like that “inside” from the very beginning. You can learn how to operate the remote control, programming, you can learn everything specifications, but you can’t learn to create.

The Matrex social and business center in Skolkovo will rightfully become one of the new symbols of Moscow, not only in the architectural, but also in the technical aspect. The latest multimedia systems and solutions that are ahead of their time make Matrex unique.

The new design possibilities for active spaces should not be confused with the 'assisted reverberation' used at the Royal Festival Hall and later Limehouse Studios from the 1950s. These were systems that used tunable resonators and multi-channel amplifiers to distribute natural resonances to the desired part of the room.

their results are below. Participants of the “Show Technology Rentals Club” actively discussed this topic.
We offered to answer several questions to specialists who have been in our business for many years,
and their opinion will certainly be interesting to our readers.

Andrey Shilov: “Speaking at the 12th winter conference of rental companies in Samara, in my report I shared with the audience a problem that has been greatly troubling me for the last 3-4 years. My empirical research into the rental market led to disappointing conclusions about a catastrophic drop in labor productivity in this industry And in my report, I drew the attention of company owners to this problem as the most important threat to their business. My theses raised a large number of questions and a long discussion on forums on social networks."

Alexander Mikhailovich Perfilyev(1895-1973) - Russian poet, publicist, literary critic. Author of several romantic love poems, for which the famous composer Oscar Strok wrote a tango.

Biography

Born into the family of the tsarist army general Mikhail Apollonovich Perfilyev, head of the First Nerchinsk Cossack Regiment. Inspired by stories about his ancestor - Cossack ataman Maxim Perfilyev, an associate of Ermak Timofeevich, Alexander entered the cadet corps, where he met and became friends with Georgy Ivanov. Without completing his studies, he transferred to the Orenburg Cossack School.

After graduating from college, he served in the First Nerchinsk Regiment, commanded by his father, as well as in the Guards Consolidated Cossack Company. During the First World War he fought at the front and was wounded several times. Awarded for bravery St. George's cross and promoted to the rank of captain.

In 1915, the first publication of the aspiring poet took place. Published in the magazines “Niva”, “Ogonyok”, “Sun of Russia”. Soon after the start Civil War Arrested on charges of aiding counter-revolutionary organizations, he spent about a year in prison. After being released for ransom, as an officer in the White Army, he was forced to go into hiding and spent almost a year in wanderings. In 1921, after illegally crossing the border, the donkey settled in Latvia, a young republic of border-buffer significance, formed from former provinces Russian Empire. In Soviet Russia, Perfilyev left behind his first wife and daughter.

For many years he fruitfully collaborated in such periodicals of the republic as “Riga Courier”, “ Russian word", "New Voice" and "Segodnya" as a publicist and lyricist, deliberately distancing himself from inter-editorial squabbles and clarification of relations between leading journalists of competing publications and their employers in conditions of acute ideological confrontation and intense struggle for the Russian-speaking reader of Latvia. Also published in the magazines “Our Light”, “Our Niva”, “Vanka-Vstanka”, “Alarm Clock”.

In Riga, he learned about the death of his wife and child, after which he married the daughter of a Riga official, Irina Saburova.

In parallel with his journalistic activities, he wrote songs and romances incognito for pop performers. In particular, the authorship of such iconic songs of the pop era as “Oh, these black eyes,” which were performed in the cabaret-dance-restaurant “Alhambra” and the popular restaurant “Otto Schwarz” by Pyotr Konstantinovich Leshchenko to the music of Oscar Strok, belongs to Perfilyev. Despite the proven fact of authorship, among the residents of Riga at that time there was a romantic legend that the tango poems were inspired by Oscar Strok himself during the period when he experienced unrequited love for a young cashier Leni Libman with black eyes of divine beauty.

Nicknames

Perfilyev’s colorful pseudonym “L. Gantimurov” is explained by another family legend, which the poet heard from his father in childhood: ataman Maxim Perfilyev adopted a direct descendant of the emir and commander Timur (Tamerlan), Prince Gantimurov, who later became the son-in-law of the pioneering Cossack ataman. Another pseudonym of Perfilyev, with which he regularly signed his poetry collections, is Alexander Lee. Another creative pseudonym, Sherry Brandy, is based on the name of a sweet alcoholic drink popular in the 1920s and 30s among the bohemians of the Latvian capital.

Poetic creativity

The first collection of poetry published under the pseudonym Alexander Lee was “Snow Mass” (1925), it creatively interpreted traditional symbolist themes, which were introduced into poetic discourse by Alexander Blok.

In pre-war poetry, Blok's, Severyanin's and Gumilyov's themes were updated, much attention was paid to the aspect of the lost military emigrant generation, faced with the need to realize their life and spiritual destiny in the new conditions of the historical epochal crisis. The need for a clear understanding of what happened to the Russian people, divided and disunited in many aspects, became the dominant motif of Perfilyev’s poetry over many decades of creativity. The image of the lyrical hero is a silent and powerless witness to the collapse of a carefree patriarchal established world (the actualization of the archetype of the destroyed Golden Age), abandoned by ruthless, inexplicably motivated historical circumstances to the mercy of fate - the model of the author's text is a romantic manifestation of a confessional poetic memoir. Very often the author turns to Blok’s reminiscences and paraphrases, but uses the components of Blok’s poetic speech canon as building material for the original poetic chronicle text.

Perfilyev Alexander Mikhailovich (pseudonyms Alexander Lee, Sherry Brandy) - poet, prose writer.

He came from an old Cossack family. The poet's father, a Cossack general, traced his ancestry back to one of Ermak's associates. Perfilyev studied at the Second St. Petersburg Cadet Corps (together with Georgy Ivanov). Having interrupted his studies, he and his father went on an expedition led by Central Asian explorer I.K. Kozlov to Mongolia and the Chinese province of Sichuan. During the expedition, the ancient city of Khara-Khoto was discovered. Returning to Russia in 1909, Perfilyev entered the Orenburg Cossack School, from where he was released into the First Nerchinsk Cossack Regiment. He served in the Guards consolidated Cossack hundred. During the First World War he took part in battles, was shell-shocked and wounded. For bravery he was awarded the St. George Cross and weapons.

In 1918, in Petrograd, where Perfilyev’s wife and young daughter were, he, an officer in the tsarist army (esaul), was arrested and spent about a year in solitary confinement. Having freed himself, he fled to the south and joined the White Army.

In 1924 Perfilyev ended up in Riga. He made his living by the old “Cossack profession” - dressage of racehorses.

Perfilyev began publishing in 1915 in the newspaper Riga Courier, then in the newspapers Russkoe Slovo, Segodnya, and the magazines Ogonyok, Novaya Niva, and Dlya Vas. Under the pseudonym Alexander Lee, in 1926 the poet’s first poetry collection was published in Riga, entitled “Snow Mass: Poems 1924-1925” (reviews: Balmont K. // Latest news. 1924. No. 1421. 11 Dec. P.2; Kamenetsky B. [Aikhenvald Yu.] // Rul. 17 Dec. P. 15; Perfilyev’s second and third collections “Leaf Fall: The Second Book of Poems” (1929, Salamander Publishing House) and “Wind from the North” (1937, Filin Publishing House) were published under his real name (reviews: Adamovich G. // Last news. 1937. No. 6060. Oct 28 S.3; Pilsky P. // Today. No. 272. Oct 4 P.6; Reznikova N. // Rubezh. 1937. P.20; Khodasevich V. // Revival. 1938. 4135. June 10. P.9).

Perfilyev worked as a literary collaborator, feuilletonist, and technical editor in the Riga magazines “Our Light”, “Novaya Niva”, “For You”, “Russian Word”, “Segodnya”. Wrote lyrics for the stage. The Russian lyrics of all songs published in the Riga publishing house of the “king of tango” Oscar Strok (despite the fact that they are labeled “Music and lyrics by Oscar Strok”, including the hugely popular romance “Oh, these black eyes”) belong to penned by Perfilyev. He wrote texts solely for the sake of earning money, as his wife, poetess I. Saburova, told about it in the preface to the posthumous collection of poems by Perfilyev, published in 1976 in Munich.

During the occupation of Latvia Soviet troops in 1940-41 Perfilyev was in hiding. During the German occupation, he edited a newspaper in Russian.

In 1942 he published a collection of short stories, “The Man Without Memories.”

In 1944 he went to Berlin, where he became close to the former Don ataman P.N. Krasnov, “put on his military uniform, was sent to Italy, from there to Prague, and after a fantastic escape from execution, he ended up in Bavaria” (Saburova I.). From the Bavarian city of Mühldorf, Perfiliev moved to Munich, where he lived until his death. In 1947, Perfilyev’s book of prose “When the Snow Burns” was published, which included 13 stories. During these years, Perfilyev was published in “New Satyricon”, “Petrushka”, and broadcast on radio station “Svoboda”.

After Perfilyev’s death, the writer’s widow collected some of his works and published them in rotary form under the title “The Literary Heritage of A.M. Perfilyev (Alexander Lee)” (Munich, 1973).

In 1976, Perfilyev’s largest poetry book, “Poems,” was published, which included poems from 3 pre-war collections, as well as poems from the 1940s-70s, songs and romances. Almost everything that came from Perfilyev’s pen during his emigrant years is marked by a sharp nostalgic intonation - both poetry and prose.

He suffered from homesickness and loneliness. Three themes predominate in Perfilyev’s work: love, death, Russia.

Perfilyev's poems are included in well-known poetic anthologies of the Russian Diaspora.

The creative heritage of the Perfilyevs has not been collected. It is scattered across numerous foreign publications.

V.N. Zapevalov

Materials used from the book: Russian literature of the 20th century. Prose writers, poets, playwrights. Biobibliographical dictionary. Volume 3. P - Ya.s. 49-50.

Read further:

Russian writers and poets(biographical reference book).

Essays:

The last train from Munich: story / intro. article and publication V. Zapevalova // New magazine. 1999. No. 2. P.187-192.

Literature:

Saburova I. [Preface] // Perfilyev A. Poems. Munich, 1976.