Matveeva Novella Nikolaevna is a wonderful Soviet and Russian poetess. She was one of the first to put poems to music and perform them with a guitar, laying the foundation for a whole generation of bard poets. We will talk about the life and work of this amazing woman in this article.
Novella Matveeva: biography. Family
Novella Nikolaevna was born on October 7, 1934 in the city of Pushkin (at that time it was called Tsarskoye Selo), located in Leningrad region. Her father, Nikolai Nikolaevich Matveev-Bodry, was a geographer by education and had a professorship in this field, worked as a local historian of the Far East, and was a member of the All-Union Geographical Society. He was a romantic by nature, hence the names of the children - Roald and Novella. The mother of the future poetess Nadezhda Timofeevna taught literature at school, was fond of writing poetry and even published her creations in various newspapers and magazines under the pseudonym Matveeva-Orleneva.
Apparently, Novella Matveeva was not the first writer in the family. The biography of the poetess also indicates that not only the mother was engaged in literature. Her grandfather Matveev-Amursky Nikolai Petrovich, who lived in Japan for many years, was a writer, and it was he who authored the History of the City of Vladivostok. And to top it off, Novella Nikolaevna's cousin and her husband were also writers.
After leaving school, the poetess worked from 1950 to 1957 in an orphanage in the Shchelkovsky district (Moscow region). After that, she entered the higher literary courses in absentia, held at the Literary Institute. Gorky, which she graduated in 1962.
And in 1961, the poetess was accepted into the ranks of the members of the Union of Writers of the USSR.
The beginning of the creative path
For the first time, under the influence of her mother, Novella Matveeva took up writing poetry. The biography of our heroine generally indicates that her mother played a big role in her life. Nadezhda Trofimovna was a very outstanding person, she was interested in culture and had great artistry. The woman had a special passion for poetry and loved to read poetry, in which she was a real master. It was her mother who first introduced Novella to Pushkin, whose works she often recited. The Matveevs always had music in the house, despite the absence of a radio and a tape recorder. Nadezhda Trofimovna, in addition to poetry, adored music and often sang romances, gypsy, Italian and Russian songs.
Therefore, it is not at all surprising that Novella composed her first poems as a child during the war years. It happened in the Moninsky hospital, where the girl got because of beriberi, which caused a complication in her eyes. In the same years, her father worked as a political instructor in that hospital. It was he who first saw the creation of his daughter. Also in her childhood, Novella tried to compose music and put poems by various poets on it, including Fet, Lermontov, Shakespeare, Agnivtsev, Gladkov, etc.
First publication
Novella Matveeva published her poems for the first time in 1957. Songs are the most great passion poetess, therefore it is not surprising that a work of this particular genre appeared in the newspaper. Unusually, it was a parody of the song "Five Minutes" from the movie "Carnival Night". After that, the writer began to publish constantly. Her poems appeared on the pages of newspapers and magazines, including "Yenisei", "Soviet Chukotka", etc. Later, larger literary publications also drew attention to the poetess.
Printing the first collections of poems by Matveeva was quite difficult, and the poets David Kugultinov and Igor Grudev came to her aid.
Novella Matveeva made many acquaintances among writers. The biography of the poetess indicates that she was helped more than once on creative way such famous people, as S. Marshak, M. Atabekyan, K. Chukovsky, V. Chivilikhin, N. Starshinov, Yu. Voronov, etc. Chukovsky especially admired the poems of Matveeva. The writer, hearing her "Sunny Bunny", even jumped with delight.
Popularity
The creative fate of Matveeva was very good - she was noticed very quickly and immediately fell in love. In the early 60s of the 20th century, a simple girl from the provinces with a beautiful voice and an old guitar was able to conquer the capital, and then conquered the country. Her songs quickly fell in love and began to sound from tape recorders throughout the country. Matveeva's works were included in the first bard collection Soviet Union- it was a disc called "Songs" and released in 1966. Later, it was published more than once, but it remained a rare edition.
The work of Novella Matveeva has always been distinguished by incredible energy and love of life, which, of course, is a reflection of the personal qualities of the poetess. In 1972 Matveeva began writing music for Ivan Kiuru's poems. The most famous works of this period are: "Song of the Mule Driver", "Drainpipes", "Country Dolphin", "The Organ Grinder".
Features of poetry
Most often, in her works, Novella Matveeva turned to lyric-romantic themes. Poems of the poetess reflect the lofty humanistic impulses of the human soul. Her lyrical hero is a dreamer and visionary, surrounded by a colorful and wonderful world of nature. We can say that the writer fully inherited the romantic passions of her father. Her poetry is very bright and cheerful. There is no cruelty, dirt, base feelings in it.
Novella Matveeva conveys confidence in life and incredible optimism to her works. Songs, however, are not the only thing that the poetess wrote. She also composed a lot for children, and also translated, wrote epigrams, parodies, articles devoted to literature and art. She has published over thirty books, including poetry, prose, and translations. And as a singer-songwriter, Matveeva recorded a considerable number of records, the last one was released in 2000 - it was the collection "Best Songs", released by "Moscow Windows".
Final years and death
Very easily found the way to the heart of the listener Novella Matveeva. Poems and songs of the poetess are still popular and familiar to many.
Among creative works The writer also has a children's play "Egle's Prediction", which was first staged on the stage of the Moscow Central Children's Theater. The work, among other things, included 33 author's songs of the poetess.
Matveeva Novella Nikolaevna for her long life she also faced adversity, misunderstanding of critics and creative failures, but this did not manage to break her will. Until the last days, she continued to work and perform. The last years she lived in Moscow. Passed away September 4, 2016.
Books
Numerous books by the poetess can still be found on the shelves of bookstores. The most popular are collections of poems. Among which are the following: "Ship", "Sunny Bunny", "Dream Cassette", "Caravan", "Jasmine". In addition, several prose works have also been published, as well as books for children.
Novella Matveeva wrote quite a lot of works in her life. How many years has she been involved in poetry? This question can be answered very easily - all your life, from childhood to the last breath. The poetess literally lived with her creativity.
Boris Zhukov. "Eternal Novella"
(Part one)
With pleasure, once again I provide the network space and the power of my LiveJournal to Boris Borisych Zhukov, a wonderful journalist who writes a lot and interestingly about the author's song. His new article, dedicated to Novella Matveeva, is posted here in full. The selection of illustrative material and references is mine (links to mp3 tracks are in bold).
But the anniversary passed, no other news occasion was foreseen in the foreseeable future, and in any case, there was no one to even offer the text that gradually took shape in my head. And then I decided: to hell with him, I will not look back at anyone or anything, I will write as I want, but I will publish where and when I succeed, but certainly in full. In the end, a talent of this magnitude is itself a permanent informational occasion.
No sooner said than done.
K. Speshnik.
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ETERNAL NOVELLA Anniversary notes about the great poet (Part one) Invisible NN Ask any of your acquaintances to list the most significant bards in his opinion. And when he enters the third or fourth decade, ask in an innocent tone: And your interlocutor, terribly embarrassed, will begin to confusingly say that, they say, of course, she is a classic and a founder, that her songs mean a lot to him personally, and he did not name her by pure chance, an inexplicable trick of memory. All this sounds very sincere and in fact is the pure truth. With one correction: the "inexplicable twist" with fatal inevitability strikes almost everyone who is offered this simple test. Already after your obedient servant published this observation, the Moscow KSPs were celebrating the 45th anniversary of the movement. From the stage, all the authors, living and dead, were solemnly named, who had at least a slightly round date in 2004. All except Matveeva, who just turned 70 just the day before. They realized it only during the intermission, when someone smart (honestly, not me!) reminded me with a note. However, it would be unfair to think that it is only we who are so forgetful. In any reference book, on any site, biographical information about Novella Matveeva ends at best in the mid-90s, but usually the last date dates back to the 80s. The words "in last years” begin mentioning what happened about thirty years ago. And after that, it was as if nothing had happened - even the rather unexpected award of the State Prize to her last year was not responded to by anyone, except for some patriotic anti-Semitic site. The aforementioned anniversary of the poetess was noticed in the entire central press (we are not talking about those present) only by Dmitry Bykov, her direct poetic student. All this could be explained by "falling out of the literary process" (although, we note, we are talking about a writer whose new writings in the past few years have been regularly published in one of the most authoritative "thick" magazines - Znamya). Or, let's say, the glaring inconsistency of Matveeva's poems - both old and new - with the requirements of modern literary fashion. Or simply laziness and lack of curiosity of literary criticism. And all this will be true, or at least something very close to true: in literature, where Alexander Prokhanov can be considered a famous modern writer, and Vladimir Sorokin -
the main newsmaker, where the award with the name "National Bestseller" is awarded by a jury of professionals - there can really be no Novella Matveeva. As one ghost said in a joke to another, “do you really still believe in these stupid stories about the living?” Skhodnenskaya recluse V summary the biography of Novella Matveeva looks prosperous, symbolic and poor in events. She was born on October 7, 1934 in the city of Pushkin - that is, in Tsarskoye Selo. She spent almost all her childhood and youth in the suburbs. She worked in an orphanage - not as an educator, but as a laborer in the subsidiary farm. On November 1, 1959, she woke up famous: on this day " TVNZ came out with a strip of her poetry. Then there was study at the Higher Literary Courses at the Union of Writers of the USSR, which gave her not only a diploma and the right to a profession, but also an acquaintance with a graduate of the Literary Institute Ivan (Heino Johannes) Kiuru, whom she married in 1963, so as not to be separated until his death in 1992 Further - only the release dates of books and records. And most recently - awards: the Pushkin Prize in 1998 and the State Prize in 2003. If you take a closer look, you can see at the very beginning of her biography an amazing family of enthusiasts, dreamers, readers who, having read almost all world literature, retained the common people's reverence for the book. You can feel the attitude of people who gave their children the names of Novella, Rose-Liana and Roald. (As far as I was able to find out, Novella Matveeva does not have a single namesake in all of Russia.) The names, of course, are non-canonical - but harmonious and not ideological, not some kind of Dazdraperma, God forgive me. From our time, Nikolai Nikolaevich Matveev-Bodry looks like a revived hero of Soviet “historical-revolutionary” films of the late 60s - a sort of dreamer commissar, with all his devotion to the cause of the revolution, completely devoid of fanatical narrow-mindedness and seeing in this revolution not “merciless death to all adversaries” , but the demolition of all artificial partitions between people and the access of each person to the cultural riches of mankind. It is not surprising that, despite his personal acquaintance with the leaders, he did not break out into "responsible workers." However, for him the phrase "responsible work" would sound like a meaningless tautology. Because if it’s not responsible, then it’s not work. One can imagine how such people lived in the nightmare of the second half of the 1930s, and later - during the “struggle against cosmopolitanism” and the turn towards a great-power ideology. However, none of her family was ever arrested - despite the fact that they were always in sight and had a bad habit of not putting up with lies and injustice. According to family tradition, the Matveevs were saved by their acquaintance with Litvinov, People's Commissar for Foreign Affairs. This is hardly true - Mikhail Mikhailovich was soon removed from his post and miraculously escaped arrest himself. But by the way ... Neither Yezhov nor Beria, not to mention "himself", of course, would not have reckoned with the intercession of the disgraced people's commissar, but for the county security officers who decided the fate of the head of the local club, Litvinov remained a celestial being. We will return to “bookishness” and “romanticism”, but for now we note that the young Novella never became a pioneer. This, of course, was hardly her choice. But it is also difficult to consider this circumstance as accidental, knowing that later, barely sensing the possibility of literary earnings, she immediately said goodbye to regular service. And then, in difficult years, existing on rare and random translation fees, she did not even think about looking for a permanent job. There was nothing of political opposition in it. The oldest of the "generation of janitors and watchmen" still went to school, and the most independent part of the intelligentsia expressed disagreement with what was happening mainly in the form of famous collective letters against this or in defense of this and that. Novella Matveeva, like all decent people, regularly signed such letters, and in general she never mastered the art of keeping silent in time. But in general, she remained quite loyal to the Soviet citizen. Her stubborn removal from any organizations, collectives and official duties reflected the attitude not to the System, but to itself. According to Novella Nikolaevna herself, her desire for solitude developed in her childhood. “From cowardice, probably from fear,” she says today. - I'm a wild man, I don't know how to behave. It's very easy for me to look funny. Therefore, I try to be somehow separate ... " The desire to "be somehow separate" resulted in a diligent avoidance of any form of publicity. Photos of Novella Matveeva from the 1960s, the time of her deafening fame as a songwriter, can literally be counted on one hand. And the performances of the most popular author were infrequent and unpredictable, and over the years they became less and less. Fearless and graceful in verse and melody, Matveeva looked constrained and awkward on stage, in the beams of spotlights, under the gaze of hundreds of strangers and at the sight of lenses. Introversion (this is the true name of Matveev's "savagery") is a frequent phenomenon for creators who pay with it for the power and liveliness of the imagination. But for the songwriter, who combines the writer and performer, it turns into a torture of forced contact with the public. People of the same mentality, but with a more resolute character, can forbid shooting in the hall, darkening the stage, etc. It was easier for Matveeva to simply refuse to perform. Moreover, by the second half of the 70s, life somehow improved. Collections of poems began to appear more or less regularly, and in the pre-perestroika period, Matveeva's discs appeared to be more than all the other bards combined. True, if the records could still be bought, then the books of Novella Matveeva on the shelves not only did not stale, but did not appear at all. Ivan Kiuru unwittingly contributed to the separation of Matveeva from the world, taking on the lion's share of the hated communication with editorial offices, publishing houses and other offices. And if at times he managed to prove something to indifferent literary overseers, then she failed to protect him from a more merciless instance - the public. Since the beginning of the 70s, Matveeva has been writing songs based on Kiuru's poems, performing with him in concerts (perhaps Novella Nikolaevna's only attempt to somehow use her popularity). But most of the fans did not share her admiration for her husband's work: fair or not, but the poet Ivan Kiuru remained in the shadow of the poet Novella Matveeva. Note-bene: here we are touching on a very delicate topic, which I really don’t know about.
would like to speak. But too many unpleasant phantoms have bred under the veil of a vow of silence - seemingly not given by anyone, but observed by all well-wishers of Novella Nikolaevna. There are far fewer people in our circle who are familiar with the poems of Ivan Kiuru than those who are familiar with the popular version of a patented graphomaniac, whom his talented wife tried to promote in every possible way for purely personal reasons. Once a married couple performed at the workshop at the TsAPe. “She, of course, is more talented than him, it always happens when both write,” Tatyana Kuprashevich, who was sitting next to me, whispered to me. "Are you a feminist?" I asked. “Of course,” she smiled, “but that’s not the point. It’s just that when a husband is more talented than his wife, she stops writing altogether.” Having applied this unexpected rule to the array of data known to me, I did not find rebuttals and could only supplement it with the passage "... or ceases to be a wife." So, maybe it's good that Ivan Semenovich could not surpass his muse - after all, poets are not interchangeable. And to be in the shadow of a genius, in the end, is not ashamed. Pushkin overshadowed a whole generation - with Baratynsky, Vyazemsky, Delvig ... Kiuru died in 1992. Three years later, unexpectedly and absurdly, Mikhail Nodel, a young journalist and poet, who in the 1990s became the secretary and literary agent of Novella Matveeva, and in fact, an intermediary between her and the world, died unexpectedly and absurdly. For several years, Matveeva simply fell silent (although, through the efforts of her fans, books continued to be published). New poems (but not songs!) began to appear only at the very end of the 90s. Novella Nikolaevna herself finally dropped out of any public life, spending almost all her time in the winter in a city apartment, and in the summer at that very dacha in Skhodnya, where neighbors may not notice her presence for months. Kirill Speshnik |
ETERNAL NOVELLA
Anniversary notes about the great poet
( part two)
Romantic without romance
In any conversation about the poetry of Novella Matveeva, no later than the second sentence, the word "romance" inevitably pops up. Her songs and poems, overflowing with the sea, ships, taverns, sails, lace, swords, seem to deliberately provoke accusations of secondary and "bookishness". (It can be said that Matveev's plots and heroes are met literally “by their clothes.”) Many people say in all seriousness that Novella Matveeva is an escapist who fled from our time into the world of invented, conditional antiquity. Approximately the way the painter and preacher Chesterton was perceived in his time as the author of detective stories (it's good that Shakespeare was not attributed to the guild of writers of action films). Especially since she herself does not mind.
Well, let's deal with the "romance".
We know from a school textbook that "romanticism is the depiction of extraordinary, exceptional characters in exceptional circumstances." And we actually find such an image in Matveeva:
Despite the fact that you and I
There was no end to the exceptional,
Valili, taking overclocking,
To us it is one of a kind, then from a row
Out leaving. (Is it from a row? It is necessary to say,
That they also had to be driven out of the house.)
Further, romanticism is a hero and a crowd, a chosen one of fate and a senseless cattle. And Novella Nikolaevna (in whose mouths, and even more so in the texts, the word "cattle" is simply impossible to imagine) does not bypass this problem:
Fortunately, those who work do not care
On all "born to command" -
Where they order to be born,
Not everyone is born to obey them!
Nota-bene: “to those who work ...” Labor takes completely special place in the world of Matthew. It is the attitude towards him - and not education (to which - or rather, the formal signs of which - the self-taught encyclopedist Matveeva treats without much reverence), not the level of income, not living in the village and not vocabulary - determines belonging to the people. Matveeva's people are a community of craftsmen. An aristocrat and even a monarch is very popular if he knows how to do something useful well. (And vice versa - skill in work, even the blackest, elevates the worker to royal dignity: "And like a king in purple robes, the stoker is red in the light of the firebox".) But the shabby person from the gateway, whose labor skills are limited to the ability to extract the cork and pour it into glasses, has nothing to do with the people.
Therefore, the paradoxical, dumbfounding combination of the aristocracy of the spirit with thrill own belonging to the people is paradoxical only within the framework of who knows when (in any case, long before the Bolsheviks with their “class approach”) the division into “people” and “pure public”, into “people” and “masters” imposed on us. Within the framework of the world of Matveeva herself (as well as in any unbiased view), there is nothing contradictory here. An aristocrat does not always possess skill (and, consequently, is not always popular), but every true master, as we have seen, is already an aristocrat.
But we seem to have started talking about romanticism - let's continue. Action is almost essential in romantic literature. The poems of Novella Matveeva are addressed to the inner life of the soul - "what was going on in his quiet heart and what was brewing in his cauldron." Her ability to maintain poetic tension in the complete absence of plot development is simply amazing - take at least a song about how Old ebony wants to sleep Or "Oh, how long, long time we go..." 1 : because nothing happens at all, “plot development” is already very close to the very prose of Vasily Ivanovich from the joke (“Tsok-tsok-tsok ...”) - and it’s impossible not to listen to the end and not sing along!
Finally, can you imagine a romantic defending common philistine truths? Defending fiercely, recklessly, poetically and stylistically brilliant - and at the same time perfectly understanding that these truths are commonplace and even directly calling them "Truisms":
Is everything one? No, not everything is the same.
A flame, for example, is by no means an ice floe.
A swindler about the welfare of his neighbors is not a guardian.
And the violence – not virtue... 2
How many sworn romantics dare to subscribe to the last line?
In order to completely put an end to this literary misunderstanding, let us recall: Novella Matveeva also has an openly parodic use of the romantic form. (Indeed, is there anything more romantic than the figures of a noble caballero and his lady of the heart - and here in "Embroidering a colored scarf ..." we almost saw a barefoot hidalgo, forever saying goodbye to his lady, so as not to get tired in vain!) And even a direct reproach to her, romance: look, they say, my dear, who you contacted:
“They won’t die, so they will dig a grave for others,
Let their souls rush to the forefathers.
But ... They symbolize romance -
At least thank the scoundrels for this!
It’s as if it’s not even enough for her to call these “symbols of romance” scoundrels in her eyes - she, using her ability to return meaning and freshness to the most greasy words, strengthens her mercilessly contemptuous assessment:
And the proud masts will break,
And the grass will break through the deck -
This is what ugly deeds mean
And godless, stupid words!”
That's all romance for you.
Yes, I almost forgot: why, then, does Novella Nikolaevna herself so readily say about herself “I am a romantic”?
Yes, because she is a romantic and there are 4 . Only here, as in the question of nationality, she focuses not on common stereotypes and bad textbooks, but on primary sources. On those who created the very concept of literary romanticism. In particular, on her beloved Novalis: “The poetics of romanticism is the art of making an object strange and at the same time recognizable and attractive.” Such romanticism is not only inherent in Matveeva - it can be said that she is only engaged in this and has achieved incredible skill in this matter. Let us recall at least the textbook “Houses without Roofs” - after all, it’s true, sorry for the cheap pun, the roof is moving: a sublime, beautiful and magically romantic picture is made of unfinished Khrushchev and trash lying around!
Note-bene: yes, reason to think that this ability is hallmark not so much romanticism as a literary trend, but art as a whole as a special kind of human activity. Novalis himself says something similar about poetry in general elsewhere; Matveeva embodied this understanding in one of her best and main poems, which we will talk about in more detail - "Poets". However, contemporary art has learned to do well without this ability, and a number of its well-known (or even slightly forgotten) representatives have rather the opposite gift. Ironically, for one of these "great writers of our time" (in order not to remind it now, thank God, the faded name, let's call him G. - this initial suits him very well) Novella Nikolaevna even became something like a godmother - not in literary, but in the most everyday sense. Alas, the unfortunate fairy came out of the prophet. However, as the classic literary fairy tale teaches us, not everything depends on the fairy - her gifts can make Cinderella happy, but not Tsakhes.
The foregoing does not invalidate the foregoing. If I weren't afraid to offend readers (they'll still think that I consider them fools), I would offer a bet that none of those who call Novella Matveeva a "romantic" uses this word in the Novalisian sense. It would be easier to believe that stubborn attempts to fasten her to “romanticism” reflect the mental laziness of the writers: they say, if it’s about ships and blades, then it’s a romantic. Alas, the situation is even worse: modern literary criticism simply does not have any suitable intellectual tools for working with such a phenomenon as the poetry of Novella Matveeva. Modern Art, proclaiming originality the highest dignity of the work and the author, did not find either a place or a word for a talent that is not typified, really unlike anyone and not following anyone. And I chose not to see him. The stubborn silence of criticism, the obsessive use of the past tense in relation to Matveeva is evidence not of a conspiracy, but of helplessness. No one knows what this exotic fruit is eaten with, suddenly grown on the tree of Russian poetry.
But it's there and there's nothing you can do about it.
Swallow's student
So who is she really and where did she come from? There were many attempts to “register” Matveev in one or another literary tradition. She was ranked among the sixties (on purely chronological grounds), taken directly from Silver Age. In each such attempt there is some truth - she inherits all these traditions at once, without swearing allegiance to any of them. She does not belong to any school, no famous poet can be considered her teacher. (Sometimes Marshak is called in this capacity, but an already established poet appeared before Samuil Yakovlevich, whom he helped to reach the reader.) It seems that she is the only poet in her generation who did not experience the slightest influence of Mayakovsky (which even the most lyrical Sukharev did not escape) . In response to a direct question about teachers, she herself names only one name - her mother, Nadezhda Matveeva (Orleneva), who published only a few poems in her entire life. And in verse he answers directly and definitely: “The swallow taught us to sing, and talk about it fully!”. It is not said in passing: the title of the poem is based on this line, which became the name of one of the main collections of Matveeva - "Swallow School" .
And this is also true. Matveeva, having mastered and assimilated world culture by self-taught, became the same self-taught in her own work. (It is not for nothing that one of her most characteristic heroes, who also gave the name to the collection - Ship, which " soaked himself in resin, he dressed himself in oak and metal, he himself led himself on a voyage - his own pilot, his own boatswain, sailor, captain.") This path, having largely predetermined her current loneliness, at the same time gave her unheard of freedom . She, who sang “Ode to Differences” (another name for “Truisms”), can suddenly throw in an even voice and as if by chance: “But drink wine from a lady’s shoe and slurp soup with bast shoes- same!" . After that, applicants for sophistication can weave any kind of words, but even they themselves will not be able to get rid of this savory “bast shoe”.
But the pebble is even more slippery:
Weird! Surely some grips
Will the world lose in the lotto?
According to Dostoevsky - EVERYONE is to blame
And according to Tolstoy - NO ONE.
It seems to us (pillars are dear,
Classic, don't judge me!)
That only one is to blame. And others -
Not at all guilty.
I wonder which of the current outrageous people would dare to say this not about anyone, but about those two names by which Russia is positioned (brrr, what a word!) In world culture? To say, without dying from one’s own courage and without looking back, are the cameras turned on, but like this - simply, respectfully and adamantly, as they say to colleagues who are loved and honored, but cannot agree on a specific issue? But damn it, someone must have said that at some point!
However, I probably mentioned the unclean one in vain. In any case, Novella Nikolaevna herself would not approve of this - she does not use such a word at all. And the fact that it has been enjoying all the rights of the literary for two hundred years does not change anything - Matveeva really cannot bring herself to put on paper the name of the prince of darkness. This constant violator of every and every literary propriety has contrived to carry through our age of the collapse of all taboos a downright Victorian attitude to the slightest hint of obscenity. Having read and lived through a huge number of authors, whom no one seems to remember anymore except for specialist philologists, she was unable to read Joyce to the end: “All about yourself, about your every scratch! And then, he has indecent ... " Needless to say, in her own texts, certain aspects of life, as well as the corresponding layers of vocabulary, are completely absent.
So, maybe her work, no matter how beautiful it is in itself, has no points of contact with reality at all? Maybe her boat is a sailboat in a bottle, elegant and sophisticated, but not designed for sailing?
One day, Evgeny Schwartz heard a young writer complain about the need to sing about all kinds of square-nest methods and peat pots. Instead of sympathizing, the playwright promised gloomily: wait, they say, they will make you do something else. “Yes, it’s good for you, Yevgeny Lvovich,” the victim said, “all this does not concern you, you write fairy tales!” “Excuse me,” the usually benevolent Schwartz snapped, “you write fairy tales! And I write the truth.
Novella Matveeva could say the same about herself. Yes, in fact, she said - if we continue the same metaphor of the boat:
Gracefully arched their wing
And the chasing on them is so thin,
As if they were cooked under glass,
Yet they sent – into a hurricane!
Indeed, Matveeva is a provocative author; the attitude towards her and her poems sorts readers/listeners. Unappreciatively and without too much regard for what they think of themselves. And the aforementioned silence of the theorists of "actual art", who do not even respond to obvious slaps in the face, testifies that the only way to deal with such an author is to present the case in such a way that it does not exist. Do not refute, do not discredit, namely to pretend that there is no one here. "Drop Pushkin off the steamship of modernity." When it has already sounded “And the king is naked!”, The only thing the king or scammers-tailors can answer is “Was there a boy?”.
But Matveeva has her own way of being modern. The diseases that we suffer today, she saw and comprehended 20-25 years ago. Remember:
When we first heard these lines, we, out of our ignorance, applied them to the usual Soviet mess - just like the inhabitants of Ersildurn, only in hindsight understanding the meaning of the unmistakable prophecies of Thomas the Rhymer. But the real apotheosis of nonsense came much later. He also found heralds, who now explain to us that all meanings are equal, that there is no high and low, and the application of moral standards to art is an anachronism and hopelessly lagging behind the times. They sincerely do not understand questions about truth or harmony: modernity is their only idol.
Other people are wonderful to me, by God!
Keep your nose in the wind and keep pace with your eyelids
pacing – in their naive eyes
Same! I'm tormented by the question:
Well, how is it possible?! – confuse foot with nose
And yet strive to the front row!
- Novella Nikolaevna shrugged her shoulders many years ago. And then, in the aforementioned “Truisms”, she uncompromisingly assessed the new faith proclaimed by these “other people”:
“Everything is one? No, not everything is the same.
There is no repeated leaf in the wilds!
Because if "everything is one" -
So, everything is "allowed"! And point. 2
The one who is “on the crest” and “in the stream” sees only what is floating next to him, and feels only the direction of the current at a given point. One who stands on a high solid bank or flies up to heaven sees the entire stream with all its turns - from source to mouth. The old entourage, tomorrow's conflicts and book heroes exist for him at the same time. That is why the Skhodna recluse, not hurrying anywhere, so often finds herself ahead of the out of breath participants in the race for time.
Of course, I do not want to say that Matveeva always speaks the truth. It happens that ideas very dear to her turn out to be false. Do you remember her fierce anti-bourgeois, anti-philistine invectives?
Only one is impossible
(Though not worth the trouble):
Stick with a hollow for ducats
Never bloom!
Contrary to this convinced and passionate prophecy, a miracle nevertheless happened: not just anywhere, but in her own genre, there was a person who combines the talents of a businessman and a poet-bard. And his poetics in spirit is just very close to Matveev's. However, he deserves a separate discussion, and I hope someday to start this conversation on a level worthy of his talent. Here we will only say that even before its appearance, such a categorical verdict looked rather doubtful. One had only to look at the canvases of the Dutch artists of the 17th century, which were certainly familiar to Novella Nikolaevna, golden both for the bourgeoisie and for painting. They are full of characters introduced like this: "Jaan van Shope - Poet and Tobacco Dealer." And first - it is "poet".
Well, now we know it. And what, in the light of this knowledge, Matveev's lines seem to us ideologized and false, like an anti-globalization leaflet? Nothing happened! And a line from the same "Poets" - "So wash the saucer for our cat!" - will not lose its bitingness if you know that its author is far from entrusting every poet to wash the saucer for his beloved Turnip. Novella Matveeva may be wrong, may be cunning, but never uninteresting.
And how else to live a man whose name is Novella? This word, before becoming the name of a literary genre, simply meant "news", "news". And as we know from the most competent source, "talent is the only news that is always new."
Kirill Speshnik
Notes (I.B.):
1. MP3 recordings are given for the following music publications:
"What a big wind"(performed ans. "Ulenspiegel")
But in general, of course, you just need to always have a complete collection at hand -
NOVELLA NIKOLAEVNA MATVEEVA
http://RKPM.RU/CONTENT/VIEW/993/135/
Novella Nikolaevna Matveeva - Russian poet, prose writer, bard, playwright, literary critic. Not everyone knows that there are a lot of wonderful children's songs in her repertoire. Novella Nikolaevna was born on October 7, 1934 in Tsarskoye Selo, now the city of Pushkin, Leningrad Region.
Father, Nikolai Nikolaevich Matveev-Bodry, a geographer by profession, a local historian of the Far East, a full member of the All-Union Geographical Society. Mother - Matveeva-Orleneva Nadezhda Timofeevna, poetess. Grandfather, Matveev-Amursky, Nikolai Petrovich, was also a poet and author of the first "History of the City of Vladivostok". Among her ancestors were musicians, peasants, sailors, a violin maker and even a ship's paramedic. Husband - Kiuru Ivan Semenovich (1934-1992), was also a poet.
She began to write under the influence of her mother, Nadezhda Timofeevna. Mom was a person of high culture and great artistry. She was very fond of poetry, she read poetry very well. It was she who introduced her daughter to the work of Pushkin, in her amazing recitation for the first time Novella heard the poet's poems. Thanks to my mother, music sounded constantly in the house. She sang Russian, gypsy, Italian songs beautifully.
Novella Matveeva began to compose her first poems as a child, during the war. It was at the Monino hospital, where she was being treated for acute beriberi, which had affected her eyes. The father was the first listener of her poems. In the hospital, he worked as a political instructor. At the age of nine, Novella wrote:
"The firefly sparkled in the dew, like a quick thought moment,
And somewhere the cool voice of a bird trembled…”
Already in those years, having heard that the voice of a bird is cool ...
At the same time, she tried to compose music based on her own poems, as well as on poems by A. Gladkov, V. Agnivtsev, W. Shakespeare, M. Lermontov, A. Fet...
Novella Matveeva spoke about her childhood: "I was very mature when I was little ...".
From 1950 to 1957, Matveeva worked in an orphanage in the Shchelkovsky district of the Moscow region.
In the early 1960s, a girl with an unusual bewitching voice and a guitar in her hands was noticed and immediately fell in love. She was one of the first poets to set their poems to music and sing them to the guitar. Her songs were played on amateur tape recorders.
Then came the first disc "Songs" (M.: Melodiya, 1966).
In 1961 she was admitted to the Writers' Union of the USSR.
In 1962, Novella Nikolaevna Matveeva graduated from the Higher Literary Courses at the Literary Institute named after A.M. Gorky and became a professional writer.
Since 1972, Novella Matveeva began to compose songs also on the verses of her husband, the poet Ivan Kiuru. The most famous and popular songs of Novella Matveeva were: "Song of the Mule Driver" ("Oh, how long, long time we go ..."), "Wind" ("What a big wind ..."), "Drainpipes" ("Rain , evening rain ...), "Girl from the tavern" ("You were afraid of my love in vain ..."), "Outskirts" ("It was a summer night ..."), "Captains without a mustache" ("Here before I have a blue sea ... ")," Country Dolphinia "(" Blue waves are coming ... ")," Magician "(" Oh, you magician ... ")," Gypsy "(" Cheerful gypsies walked around Moldova. .."), "organ grinder" ("Snow fell on the ground..."), etc.
But few people know that she is still a great children's poet. In the sixties, she published the book "Sunny Bunny", and in 1984 - "Rabbit Village". "I sculpt from plasticine
(Plasticine is softer than clay)
I sculpt from plasticine
Dolls, clowns, dogs...
If the doll comes out badly,
I'll call her - Fool,
If the clown comes out badly,
I'll call him the Fool.
Two brothers came up to me
Come up and say:
Is the doll to blame?
Is the clown to blame? ... "
This song to the verses of Novella Matveeva, the music for which was written by Sergey Nikitin, is loved not only by children, but also by adults. A reasoning song, a song that makes you think about your actions.
And the unforgettable country of Dolphinia? Green's romance of distant wanderings. The depth of perception by the child's consciousness of what you will see if you close your eyes is Infinite, and only a generous magician from a fairy tale can endow it with an eternal, subtle and vulnerable soul. This wizard is Novella Matveeva.
“The waves are blue.
Green?
- No blue!...
... And somewhere there is a country Delphinia
And Kangaroo City.
-It is far!
- Well, what?
I will go there too…”
The poems of Novella Matveeva must be read aloud, and then you can hear wonderful strings in them: one of them is a guitar one. Many have become songs that are on everyone’s lips: “Ship”, “Captain Brothers”, “Captains Without a Mustache!”, “Delphinia”, “Road”, “Girl and Plasticine”, etc. It is published, reissued, recorded, arrange, but most importantly - it is sung and the songs are alive and well. One generation of listeners after another is immersed in their bright and magical world, and it is no longer possible to distinguish children from adults - their philosophy is so deep. She continues to work, and the sincere love of the audience is her reward for her natural talent and many years of work.
Here is how the wonderful children's poet Valentin Berestov spoke about the work of Novella Matveeva:
“How loudly we sang and sing with your parents to the sound of the guitar of the song by Novella Matveeva. My heart skips a beat when I hear or sing myself:
We are captains, brother-captains!
We paved the way to the ocean,
We pierced the water with a daring keel
And weeded from underwater grasses.
But the ships that follow us
Have to fight the same waves
And gnash from the same pain
About the same rocks, peeling off the ribs!
These songs called many of us on a long journey and helped us cheerfully endure the difficulties of the journey in the sands, in the ice, in the taiga, in the ocean.”
In 1984, N. Matveeva's play "Aegle's Prediction" was staged at the Central Children's Theater in Moscow - a free fantasy based on A. Green, containing 33 of her author's songs.
She is the author of more than 30 books of poetry, prose and translations. Among them: "Lyric" (1961), "Ship" (1963), "The Soul of Things" (1966), "Sunny Bunny" (1966), "Swallow School" (1973), "River" (1978), "Law Songs" (1983), "Surf Country" (1983), "Rabbit Village" (1984), "Favorites" (1986), "Praise to Work" (1987), "Inextricable Circle" (1991), "Melody for Guitar" (1998), "Tape of Dreams" (1998), "Sonnets" (1998), "Caravan" (2000), "Jasmine" (2001).
Records of the author-performer N. Matveeva were released: "Songs" (Melody, 1967), "Poems and Songs" (Melody, 1966), "The Road is My Home" (Melody, 1982), "Music of Light" (co-authored with I Kiuru, Melodiya, 1984), "Ballads" (co-authored with I. Kiuru, Melodiya, 1985), "My crow" (co-authored with I. Kiuru, Melodiya, 1986), "Red-haired girl" (co-authored with I. Kiuru, Melodiya, 1986) and CDs "What a big wind" (ASP, 1997), "A girl from a tavern" (ASP, 1997), "Novella Matveeva" (Moroz Records, 1999), "Best songs" (Moscow windows, 2000), "Desperate Mary", "Tavern "Fours".
In 1996, a book of memoirs "The Ball Left in the Sky" was published.
In 1998, Novella Matveeva won the Pushkin Prize for poetry.
The motive of childhood in the poetry of Novella Matveeva (Poems "Wind", "Delphinia Country", "Ship", "Country of Childhood") First there was a garden. Childhood was a garden. Without end, without borders... T. Tolstaya "They sat on the golden porch ..."
Purpose of the study
: to consider why the motive of childhood sounds in the poetry of N. Matveeva, to identify ways to create this theme in the structure of several poems. Research methods
: study of the biography of N. Matveeva, information about the features of creativity, analysis of works in which this topic is voiced, identification of ways to create a childhood motif. 1. Introduction. Biographical note.
Novella Nikolaevna Matveeva was born in 1934 in the Leningrad Region. Russian poet, prose writer, bard, playwright, literary critic. The father of Novella Matveeva is a geographer by profession, a local historian of the Far East, and a romantic by worldview (hence the names of the children - Novella and Roald). Mother is a teacher of literature, a poetess, published under the pseudonym Matveeva-Orleneva. Grandfather was also a writer and author of the first "History of the city of Vladivostok", lived in Japan for many years. A cousin is a poet of the Russian diaspora. From 1950 to 1957, Matveeva worked in an orphanage in the Shchelkovsky district of the Moscow region. In 1962 she graduated from the Higher Literary Courses at the Literary Institute. Gorky (in absentia). Since childhood, he has been writing poetry, published since 1958. The first collection was published in 1961; the second ("Ship") - in 1963. In 1961, Matveeva was accepted into the Writers' Union of the USSR. In the 1970s, she published the books “Swallow School”, “River”, etc., in the 1980s - “The Law of Songs”, “Country of the Surf”, etc. From the end of the 1950s, Novella Nikolaevna began to compose songs on their own verses and sing them to their own accompaniment. 33 songs of Novella Matveeva are known. In 1996, a book of memoirs "The Ball Left in the Sky" was published. In 1998, Novella Matveeva won the Pushkin Prize for poetry. Novella Nikolaevna lives in Moscow. V Lately she is working on translations. 2. Features of the lyrics of N. Matveeva.
Matveeva's lyrics are built on metaphors, filled with contrasts, unexpected images, alternation of static and dynamic in her poetic world. I was given there-there? For my eyes are here, and my gaze is there ... ” Novella Matveeva said that as a child she wanted to devote herself to music. It is no coincidence that she began to perform her poems with a guitar. Musicality and fantasy are the main features of N. Matveeva's style. Poems and songs by Novella Matveeva are always some kind of journey. And often - a trip to the country of childhood. The motives of sea voyages and distant countries correlate her poetic works with the work of the romantic A. Green. No one has ever written or sung like this about ships: “As if on a tightrope, again they passed along the horizon ... along the edge of the sea to the edge of the earth.” In this aspiration to a fairy tale, to the "republic of dreams" lies the amazing originality of Novella Matveeva. The poems of the poetess contain the dreams of a person, his visions, the richest world of his associations. From these dreams, hope is born for the best, the highest, the noblest thing in the world of people. One of the key genre-thematic formations is landscape - most often sea - lyrical sketches in Matveyeva, containing parable and fairy tale motifs. In many verses: "What a big wind...", "Ship", "Blue Sea", "Captains without a mustache" and others through the strokes of a landscape sketch, wonderful metamorphoses appear that can only arise in a child's semi-fairytale imagination. 3. Analysis of individual poems, united by a cross-cutting motif of childhood.
What a big windAttacked our island!I blew the roofs off the houses,As with milk - foam.
And if the nail to the houseDrive with a sharp end,Without a hammer, immediatelyHe will enter the wall himself.
The wind broke the willow,I leveled the ridges in the garden -Already a root of a radishHe got himself out of the soil.And, rolling sidewaysTo the neighboring gardenInto someone else's gardenAnd grew up there again.
A squall swept out to seaTen and two boatsAnd the fishermen - grief,do not smoke pipes.
And you need to smokeYes, light a matchAs on the fly lookStop bird.
What a big wind!Ah, what a whirlwind!And you sit quietlyAnd you look tenderly.
And no forceYou can't be shakenSoon Neptune will get downFrom your throne.
What a big windAttacked our island!I blew the roofs off the houses,As with milk - foam.
In a poem "What a big wind..." the first picture is drawn as if by a child’s hand: houses on the island, the wind like a giant blowing the roofs off the houses, a garden and a vegetable garden where radishes grow on the beds ... The wind is so strong that an unusual comparison arises - hyperbole: “And if you drive a nail to the house with the end sharp, without a hammer, immediately, he himself will enter the wall. A fantastic event occurs: “The wind broke the willow, leveled the ridges in the garden - the radish root itself crawled out of the soil. And, rolling sideways to the neighboring garden, he grew into someone else's bed and grew there again. The episode seems to be seen through the eyes of a child who always brings his own fantastic invention to what he sees. The second part of the poem has a different sound. In the center is a realistic sketch: an empty seashore, boats blown out to sea by the wind, a fisherman who does not know how to save the boats. He cannot even light a match in the wind to light his pipe. Both the first and second pictures emphasize the power of the wind, they are dynamic, and the finale of the poem is static: “And you sit quietly, and you look gently. And you can’t be moved by any force, sooner Neptune will get off his throne ... ”The image of a lyrical hero (heroine) arises, who, in contrast to the destructive elements, maintain stamina and constancy. Perhaps this is the constancy and persistence of the feeling of love that exists in this world (“And you look tenderly ...”). The power of love is able to withstand the most terrible elements. The refrain of the poem, lexical repetitions, anaphoras enhance the musicality of the text. Unusual comparisons and metaphors give the text an external simplicity, bringing it closer in style to poetry for children, although the subtext of the poem contains a deep philosophical meaning.
"Country Dolphin"- one of the most significant in the work of N. Matveeva. The waves are blue.Green? No, blue.Like millions of chameleonsColor changing in the wind.Affectionately blooming wisteria -She is more tender than frost...And somewhere there is the land of DelphiniaAnd Kangaroo City.
It is far! So what? -I will go there too.Oh my god, you are my godWhat will happen without me?Palm trees will dry up without meRoses will die without meThe birds will be silent without me -This is what will happen without me.
Yes, but without me for the umpteenth timeThe ship "Porcupine" sailed.How come I'm in such troubleErase from memory?And yesterday it came, it came, it cameTo me a letter, a letter, a letterStamped by my DelphiniaWith kangaroo stamp.
white envelopes with mailBursting like magnolia budsThey smell like jasmine, but that's whatRelatives write to me:Palm trees don't dry without meRoses don't die without meThe birds won't be silent without me...How is it without me?
The waves are blue.Green? No, blue.Bitter tears flow...I'll brush it off, shake it off, wipe it off.Affectionately blooming wisteria -She is more tender than frost...And somewhere there is a country DelphiniaAnd Kangaroo City. The first impression that arises when reading a poem is a clear resemblance to Korney Chukovsky's poems written for young children. Elements of a fairy tale narration: the fictional country of Delphinia, the city of Kangaroo, the ship "Porcupine", a letter that came from a non-existent country - create the motive of childhood. Numerous repetitions, as in children's counting rhymes, bright color spots (blue waves, white wisteria, green palm trees and red roses) - everything gives the poem the effect of external simplicity, emphasizes the similarity of the text with a children's drawing. The lyrical heroine of the poem, no matter how old she is, is a child in her soul. She, like a child, dreams of leaving for Delphinia, believes that it is impossible to go there without her, assures in all seriousness that she received a letter from the city of Kangaroo, cries that she will not be able to sail on the Porcupine ship. In this poem by N. Matveeva, nostalgia for childhood and the call: “Let's be like children!”, Let's believe in a dream and universal love, sound especially loud! The poem was set to music and became a song. In the Land of Delphinia, the impressionistic sea imagery "Blue waves are running in. // Green? No, blue..." becomes an exposition to the subsequent lyrical confession, filled with a sense of spiritual closeness to the world of a distant dream - and at the same time a sad experience of separation from this world, the longing of the soul for the lost paradise state. The real details of the text: "With the stamp of my Delphinia, // With the stamp of the Kangaroo" and the abundance of colloquial turns give the song psychological authenticity.
Poem "Ship", which also became a song, is usually printed in collections of poems for children. There lived a cheerful and slender boat:
He hovered over the waves like a falcon.
Himself, they say, he built,
He made himself, they say. He soaked himself with resin,
He dressed himself in oak and metal,
He himself led himself on a flight - his own pilot,
His own boatswain, sailor, captain. There was a boat, noisy sails, He was not afraid of anything anywhere. And volcanoes with gray eyebrows Moved at the sight of him.
Made faces to the last kings,
Are all countries in bloom, is everything in place, -
He wrote everything down, checked everything! Fifteen times, twenty times a day Other ships met with him: They will stand, chat for a minute And again they will run in all directions ...
Everything that I saw, I wound on the masts,
He drew conclusions himself, - his own pilot,
Your own boatswain, sailor, captain! After reading this poem, you involuntarily ask yourself the question: maybe the work of Novella Matveeva has no points of contact with reality at all? It is no coincidence that children are very fond of illustrating this poem, the hero of which is a fabulous boat. Everyone understands that the ship is depicted as a person: he is independent, observant, and brave. Everything is done by SAM! The boat is also a sociable and cheerful dreamer. The ship notices everything, draws conclusions, sails through life itself. Can anyone not like it? . The poem is based on personification: the boat, volcanoes, and other ships act as living beings. The ship, like any person, grows up, learns, traveling through life. The motive of children's faith in the miraculous permeates the entire text, and one wants to listen to this life-affirming song, remember one's childhood, spring, a boat sailing in a large puddle.
Poem "Land of Childhood" sounds completely different: it is filled with sadness, a feeling of impossibility to return to the country of childhood, which now seems so beautiful ...
I would change you, there-there, here-here,
For even here flowers grow along the roads.
But isn't fate itself given to me there and there?
For my eyes are here, and my gaze is there.
"There" is a palm tree, a mystery, a Buddhist temple.
The grace of alien blue seas...
Something that seemed to be within reach.
The high empty shed is pierced by the sun...
"Oh, how happy I am!" crows in the yard.
Fresh cut logs are like cheeses
Dancing like a spirit, dry poplar fluff.
I remember: the grass waved its tassels,
In the cracks of the fences, peeping, grew,
And the breeze, not remembering kinship,
Silently whispered immemorial words.
The ditches are full of yellow dandelions,
Like channels - dry golden water ...
Too bad never to see me that side,
Never take yellow water in the palm of your hand.
I still seem to wander there,
And dandelions serve as a canvas for me,
But on the heels, on the heels, on my footsteps
Memory steps heavily - my convoy.
You can climb - in the end - to Parnassus,
Anchor in Cyprus to throw, swim for Crete,
But how do you get back to where you are right now?
Where is the dandelion closed by a long rain?
Soars like a spirit, dry poplar fluff,
Afraid to fall: the earth is damp, cold ...
The soul is afraid to talk to itself aloud,
Afraid to admit that that country is lost.
The poem is built on the opposition HERE / THERE.
Here is today, in adulthood. It's there in childhood. Childhood is a village with flowers by the road, with dandelions in the ditch, with a high barn and a rooster that joyfully greets the new day. The picture of childhood is permeated with the sun, filled with the smell of trees and herbs, dry poplar fluff... Childhood is also books about distant countries. These countries are far away, beyond the blue seas... As a child, I wanted to visit unknown mysterious countries where palm trees grow and Buddhist temples rise. It is impossible to come or fly to the country of childhood. Only a memory can take us back there for a while. A lot of things are possible for an adult: “You can climb – in the end – to Parnassus, // Anchor in Cyprus, swim to Crete…” But it is impossible to see the world as it was seen in childhood. Perhaps only especially sensitive, spiritually bright people sometimes have access to a childish perception of the world. It is precisely this quality that the author of poems Novella Matveeva possesses. The world of the country of childhood is created by the author with the help of original epithets: acute alien seas, not remembering kinship breeze, immemorial the words; unusual comparisons: “fresh cuts of logs are like cheeses”, “The ditches there are full of yellow dandelions, like canals - with dry golden water”, “dry poplar fluff hovers like a spirit” ... To emphasize the lost sense of the world as a happy fairy tale with an anaphora in the final stanza: afraid .., afraid .., afraid ... The motif of the lost garden-paradise (childhood) is also the main one in T. Tolstoy's story “They sat on the golden porch ...”, so we took the epigraph to the work from this story.In 1993, Novella Matveeva wrote the following lines for her husband, poet-bard Ivan Kiuru:
The Savior commanded us to “be like children.”One thing we have since succeeded in the world:Get rid of the sample; achieveSo that ... the children themselves - were not "like children"! How much sad irony in this quatrain and how accurately it reflects our today's reality.
4. Conclusions and generalizations.
The greatest advantage of the presented poems by N. Matveeva is the poetry of childhood poured into them. Childhood is presented in these poems-songs as a time of innocence and purity, when a person has not yet learned to lie and believes in a fairy tale.In the subtext of all these poems, Novella Matveeva tells the reader about what she experienced in her childhood. Here a little man learns to resist the elements, overcomes fear ("What a big wind ..."). Here is a lyrical hero who dreams of a fairy-tale country and believes that they are waiting for him there (“Country of Dolphinia”). Here is a small person who educates himself, “does” himself, so as not to succumb to difficulties in adulthood. And, finally, having become an adult, the hero of Novella Matveeva mentally returns to the country of childhood, so as not to harden his soul, not to forget how to see the miraculous in life, not to forget how to believe in miracles. Novella Matveeva is also a great children's poet. In the sixties, she published the book "Sunny Bunny", and in 1984 - the poems "Rabbit Village" and "I sculpt from plasticine ...". The bright and magical world of her poems and songs captures both children and adults; he calls on a long journey and helps to cheerfully endure difficulties on the way through life.Bibliography
1. Lavlinsky S.P. Technology of literary education, 2003.
2. Matveeva N.N. Collection of poems and songs "Surf Country", 1982.
3. Medynsky G. Song poetry N. Matveeva, Youth, 1966, No. 7.
4. Nichiporov I.B. The Romantic World of N. Matveeva's Poetry, 1963
5. Prikhodko A. Soul and flesh of poetry, New world, 1967, №2
Private bussiness
Novella Nikolaevna Matveeva (80 years old) was born in Detskoye Selo (now - Pushkin) of the Leningrad region. Her father, Nikolai Nikolaevich Matveev-Bodry, was a geographer, local historian of the Far East and a full member of the All-Union Geographical Society. Mother, Malkova Nadezhda Timofeevna, taught literature, wrote poetry, published under the pseudonym Matveeva-Orleneva. Grandfather Nikolai Petrovich Matveev-Amursky was also a writer, the author of the first "History of the City of Vladivostok", lived in Japan for many years.
Novella began to write poems as a child, during the war, and at the end of the war, the first songs appeared. From 1950 to 1957, Matveeva worked in an orphanage in the Shchelkovsky district of the Moscow region.
Since the late 50s, she began to perform in public with her songs to the accompaniment of a seven-string guitar. A girl from the provinces with an unusual "childish" voice and a guitar in her hands was noticed and loved. She began publishing in 1958. Already in 1961, the first collection of her poems "Lyric" was published, in the same year Matveeva was admitted to the Writers' Union of the USSR. In 1962 she graduated from the Higher Literary Courses at the A. M. Gorky Literary Institute (in absentia).
The second poetry collection of Novella Matveeva - "The Ship" - was published in 1963. In 1966, the Melodiya company released the first disc with Matveeva's songs. In the 1970s, she published the books “Swallow School”, “River”, in the 1980s - “The Law of Songs”, “Country of the Surf”, etc.
In 1996, a book of memoirs by Novella Matveeva "The Ball Left in the Sky" was published. In 1998 she became a laureate of the Pushkin Prize in the field of poetry, in 2002 - a laureate of the State Prize Russian Federation in the field of literature and art.
Novella Nikolaevna lives in Moscow. Lately she has been working on her own translations of Shakespeare's sonnets.
What is famous
In 1964, Novella Matveeva wrote her most famous song - "The Girl from the Tavern" (also called "The Ballad of the Nail"). The words of this song “You were afraid of my love in vain, I don’t love so terribly ...” are known even to those who do not know their author.
Novella was one of the first Soviet songwriters, her popularity was very great - most of the students of our country sang Matveeva's songs, full of light, romance and kindness, the charm of which was enhanced by her unusually thin, almost childish, voice.
The most famous and popular songs of Novella Matveeva were: “Song of the Mule Driver” (“Oh, how long, long we go ...”), “Wind” (“What a big wind ...”), “Drainpipes” (“Rain , evening rain ..."), "Girl from the tavern" ("You were afraid of my love in vain ..."), "Outskirts" ("Summer night was ..."), "Captains without a mustache" ("Here before the sea is blue for me ...”), “Country Delphinia” (“Blue waves are running ...”), “Magician” (“Oh, you magician ...”), “Gypsy” (“Cheerful gypsies walked around Moldova. ..”), “organ grinder” (“Snow fell on the ground ...”).
What you need to know
Novella Matveeva
Despite the fact that Novella Matveeva was usually ranked among the sixties (on purely chronological grounds), she herself never ideologically ranked herself among them, and in general, as the journalist Boris Zhukov, a researcher of bard songs, wrote about her, “remained quite loyal to the Soviet subject.” Novella has always been an introvert, trying to limit contacts with the outside world as much as possible, in which her husband, Ivan Kiuru, who took on the lion's share of communication with editorial offices and publishing houses, helped her in many ways.
According to Novella Nikolaevna herself, she developed a desire for solitude in her childhood: “From cowardice, probably from fear. I'm a wild person, I don't know how to behave. It's very easy for me to look funny. Therefore, I try to be somehow separate ... "
She diligently avoided all forms of publicity. Even the photographs of Novella Matveeva from the 60s, when she was at the peak of her fame, can literally be counted on the fingers. She performed infrequently, and over the years - less and less.
Her husband, the poet Ivan Kiuru (1934-1992), was from a family of repressed Soviet Finns. They lived together for 29 years. The few recollections of people who knew Matveeva and Kiura closely testify that this couple inexplicably irritated those around them. Either by neglect of “everyday life”, or by devotion to each other, or by the fact that they were self-sufficient - having created their Universe for two, they did not allow anyone there.
In 1992, Ivan Kiuru died, and three years later Mikhail Nodel, a young journalist and poet who became Novella Matveeva’s secretary and litagent in the 90s, and in fact, as Zhukov writes, “an intermediary between her and the world,” died. For several years, Matveeva was silent. New poems (but not songs) began to appear only at the very end of the 90s. Novella Nikolaevna herself practically “dropped out” of any public life, spending almost all her time in the winter in a city apartment, and in the summer at a dacha in Skhodnya, where neighbors may not notice her presence for months. By her own admission, she closely follows politics, the news and takes everything very close to her heart.
Direct speech
“I never had songs for poetry. I always write just the whole song as a whole. Sometimes not immediately, sometimes at random, but in such a way that everything is sure to be one’s own: both poetry and melody - without loans from outside, ”- Novella Matveeva
“Green's landscapes, nightmares, even Green's names - what is there in the world more hypnotic than the name "The Blue Cascade of Telluri", which alone can replace a novel, but what a novel - an entire country? Perhaps only the poetry of Novella Matveeva, and especially her songs, was such a burn for me. — Dmitry Bykov.
“If Okudzhava is a blessed rain, then Novella Matveeva is an amazing island,” Zinovy Paperny.
“I remember that in the early sixties, when I first heard her sunny, fairy-tale songs, for some reason I decided that only a very happy person could write such songs ... When I first went to Novella Matveeva’s house and saw the monstrous life of her huge, uncomfortable communal apartment on Running Street, I was shocked. What a powerful imagination of the artist, what courage and optimism the author must have, who invented his fairy-tale world in such an environment! .., - Alexander Gorodnitsky.
5 facts about Novella Matveeva
- Matveeva's father was a romantic, so he gave his children such unusual names, naming his daughter Novella, and his son Roald. Novella Matveeva does not have a single namesake in all of Russia.
- The disc of Novella Matveeva, released in 1966 by Melodiya, became the first disc of a bard song in the USSR.
- Novella Matveeva does not like the word "bard" and prefers to call the performers of the author's song "polyhymns".
- In 1984, Matveeva's play "Aigl's Prediction" was staged at the Central Children's Theater in Moscow - a fantasy based on the works of Alexander Grin, containing 33 songs of Novella Nikolaevna.
- The Moscow theater "Studio-69" staged a performance based on the poems of Novella Matveeva. Each poem performed on the stage is a miniature performance.
Materials about Novella Matveeva
She was born on October 7, 1934 in Tsarskoye Selo (now the city of Pushkin), Leningrad Region. Father - Matveev-Bodry Nikolai Nikolaevich, was a local historian of the Far East, a full member of the All-Union Geographical Society. Mother - Matveeva-Orleneva Nadezhda Timofeevna, poetess. Husband - Kiuru Ivan Semenovich (1934-1992), poet.
From 1950 to 1957 Novella Matveeva worked in an orphanage in the Shchelkovsky district of the Moscow region.
She began to write under the influence of her mother. Nadezhda Timofeevna was an outstanding personality in many respects, a person of great culture and great artistry. She was very fond of poetry, she read poetry very well. It was from her lips, in her amazing recitation, that Novella heard Pushkin's poems for the first time. There was not always a radio in the Matveevs' house, nevertheless, thanks to the mother, music sounded constantly. She had a romantic sonorous voice. She sang gypsy, Russian and Italian songs.
In general, Novella Matveeva comes from a famous literary family of the Russian Far East: her grandfather, Nikolai Petrovich Matveev-Amursky, was a poet and author of the first History of the City of Vladivostok. Her mother, younger brother Roald Nikolayevich, her uncle Venedikt Nikolayevich, her husband are also poets...
Novella Matveeva composed her first poems as a child, during the war. It was at the Monino hospital, where she was being treated for acute beriberi, which had affected her eyes. She showed the poems to her father, who worked there, in the hospital, as a political commissar. As a child, she tried to compose music to her own poems, as well as to poems by A. Gladkov, V. Agnivtsev, W. Shakespeare, M. Lermontov, A. Fet ...
Her first publication in 1957 was a parody of the song "Five Minutes" from the movie "Carnival Night". Soon followed the publication of poems in the newspaper "Soviet Chukotka" (1958) and the magazine "Yenisei". Since 1959, her poems have been regularly published in national newspapers and magazines. In promoting the first large selections poems by Novella Matveeva were helped by poets Igor Grudev and David Kugultinov, as well as workers of the Central Committee of the Komsomol Viktor Bushin and Len Karpinsky. Further, S. Marshak, K. Chukovsky, M. Atabekyan, V. Chivilikhin, N. Starshinov, B. Slutsky, Yu. Voronov took part in the fate of the poetess. Korney Ivanovich, when "Sunny Bunny" was read to him, even jumped over a chair for joy.
Novella Matveeva has a happy creative destiny. She was noticed in time and immediately loved. A girl from the provinces with an unusual bewitching voice and a guitar in her hands conquered the capital in the early 1960s, and then the whole country. Her songs, sounded on amateur tape recorders, quickly embodied in the record "Songs" (M .: Melodiya, 1966). It was the first bard record in the Soviet Union, which was subsequently released several times, but remained a rarity.
Since 1972, Novella Matveeva began to compose songs also based on poems by the poet Ivan Kiuru. The most famous and popular songs of Novella Matveeva were: "Song of the Mule Driver" ("Oh, how long, long time we go ..."), "Wind" ("What a big wind ..."), "Drainpipes" ("Rain , evening rain ...), "Girl from the tavern" ("You were afraid of my love in vain ..."), "Outskirts" ("It was a summer night ..."), "Captains without a mustache" ("Here before I have a blue sea ... ")," Country Dolphinia "(" Blue waves are coming ... ")," Magician "(" Oh, you magician ... ")," Gypsy "(" Cheerful gypsies walked around Moldova. .."), "organ grinder" ("Snow fell on the ground..."), etc.
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In 1962, Novella Matveeva graduated from the Higher Literary Courses at the Literary Institute named after A.M. Gorky. She became a professional writer. In 1961 she was admitted to the Writers' Union of the USSR.
The poetry of Novella Matveeva is dominated by a lyric-romantic beginning. It reflects the high humanistic feelings of a person, his dreams and fantasies, the colorful world of nature surrounding him. She also writes a lot for children. In addition, Novella Matveeva is engaged in translations, writes parodies and epigrams, and publishes articles on issues of literature and art.
In total, she wrote more than 30 books of poetry, prose and translations. Among them: "Lyric" (1961), "Ship" (1963), "The Soul of Things" (1966), "Sunny Bunny" (1966), "Swallow School" (1973), "River" (1978), "Law Songs" (1983), "Surf Country" (1983), "Rabbit Village" (1984), "Favorites" (1986), "Praise to Work" (1987), "Inextricable Circle" (1991), "Melody for Guitar" (1998), "Tape of Dreams" (1998), "Sonnets" (1998), "Caravan" (2000), "Jasmine" (2001).
As a singer-songwriter, N. Matveeva recorded records: "Songs" (Melody, 1967), "Poems and Songs" (Melody, 1966), "The Road is My Home" (Melody, 1982), "Music of Light" (in collaboration with I. Kiuru, Melodiya, 1984), "Ballads" (co-authored with I. Kiuru, Melodiya, 1985), "My crow" (co-authored with I. Kiuru, Melodiya, 1986), "Red-haired girl" (co-authored with I. Kiuru, Melodiya, 1986) and CDs "What a Big Wind" (ASP, 1997), "A Girl from a Tavern" (ASP, 1997), "Novel Matveeva" (Moroz Records, 1999), "Best Songs" ( Moscow windows, 2000), "Desperate Mary", "Tavern "Fours".
In 1984, N. Matveeva's play "Aegle's Prediction" was staged at the Central Children's Theater in Moscow - a free fantasy based on A. Green, containing 33 of her author's songs.
Peru Novella Matveeva owns hundreds of publications in periodicals. More than a hundred articles by famous poets, writers, critics and literary critics are devoted to her work. Among their authors are E. Evtushenko, L. Anninsky, E. Vinokurov, V. Ognev, Z. Paperny, V. Lakshin, S. Marshak, S. Chuprinin, G. Krasnikov, B. Okudzhava, E. Kamburova, D. Granin , Ya. Smelyakov, V. Tsybin, B. Slutsky, V. Berestov, A. Urban, Yu. Smelkov and others.
Personal adversity, sometimes encountered misunderstanding of some critics, art historians, editors and publishers did not break the will of Novella Nikolaevna. She continues to work actively to the delight of many fans of her work.
In 1998 N.N. Matveeva was awarded the title of laureate of the Pushkin Prize in the field of poetry.
Lives and works in Moscow.
Opinion about Novella Matveeva
Ekaterina 05.07.2007 10:53:26
Since childhood, I have loved the songs of Novella Matveeva. I sing them all my life, and even to my grandson, he sings along with me with pleasure. Matveeva is a man of unique talent! I literally adore her!!!
The time comes and everyone goes...
Alexander Vladimirsky 06.09.2016 11:13:42
The time comes and everyone leaves, it was, is and will be forever, someone can simply be remembered, and someone will go carelessly to another world.
