Andrey Reznikov, son of Victor, personal life. Cause of death of Viktor Reznikov

Together they create a musical quartet, which also includes their sons - Andrei Reznikov and Sergei Boyarsky. In 1986, the quartet became famous with the song "Dinosaurs". In the same year, V. Reznikov left Lenconcert. He collaborated with the Leningrad rock group “Marathon” (produced by Viktor Smirnov), whose lead singer was Gennady Bogdanov. In the year he headed the Leningrad branch of the All-Union creative and production association SPM "Record".

Viktor Reznikov is a laureate of the festival “Young Composers of Leningrad” and the all-Union television festival “Song of the Year” (1985 - "Soldier" performed by Lyudmila Senchina, 1987 - "House of cards" performed by Irina Otieva, as well as two songs performed by Larisa Dolina: "Ice"- in 1988 and 1999 and in 2000 - "Phone Book"). His songs were performed by leading singers and ensembles of the Soviet stage: Alla Pugacheva, Larisa Dolina, Valery Leontiev, Igor Ivanov, Irina Otieva, VIA "Pesnyary", Jaak Joala, Anne Veski, Lyudmila Senchina, Tõnis Mägi, Roza Rymbaeva, Lev Leshchenko, Albert Asadullin , Sofia Rotaru, beat quartet “Secret” and many others.

Viktor Reznikov wrote the music for the two-part musical film “How to Become a Star,” which received great audience success. He participated in popular programs of Leningrad Television, including “Raffle”, “New Year’s Labyrinth”, “Musical Ring” - in 1986 and 1988 (he competed with the Leningrad composer Igor Kornelyuk), and also repeatedly appeared in music programs of Central Television: “ Morning Mail", "Wider Circle", Festival of the program "Program "A"" (in 1990). In January 1991, the musical quartet of V. Reznikov, M. Boyarsky and their sons took part in the charity Telethon “Revival” (raising funds for the Leningrad City Foundation).

Hit parade “Hot Dance Music”

In November 1988, as part of a meeting between American artists and young Soviet composers, which took place in the USSR in the wake of perestroika, American producers became interested in Reznikov’s song “Brownie”. English lyrics were written and the new song was named "Don't Stop Now". In June 1990, the Soviet-American album was released Music Speaks Louder Than Words, which also included Victor’s song performed by The Cover Girls. At the same time, The Cover Girls released a maxi-single "Don't Stop Now / Funk Boutique"(1990) The producers managed to “promote” the song so that it entered the American dance music chart Hot Dance Music magazine Billboard, gradually rising in a few weeks from 43rd place to 2nd. This was an unprecedented case for a Soviet songwriter.

On the wave of success, Viktor Reznikov was offered to join American Society of Authors, but he was embarrassed.

Team "Starko"

In 1991, on the initiative of Viktor Reznikov, Yuri Davydov (“Zodchie”) and Mikhail Muromov, a football team of Russian pop stars “Starko” was created. The idea of ​​the project was a combination of “star” football matches and large-scale gala concerts - for charitable purposes. The first captain of the team was Viktor Reznikov. The first team included leading singers and musicians of the early 90s: Vladimir Presnyakov Sr. and Vladimir Presnyakov Jr., Alexander Kutikov, Mikhail Boyarsky, Mikhail Muromov, Yuri Davydov, Yuri Loza, Sergei Belikov, Sergei Minaev, Valery Syutkin (“Bravo” "), Vyacheslav Malezhik, Chris Kelmi, Sergei Krylov, Nikolai Fomenko (“The Secret”), Alexey Glyzin, Andrey Misin and many others. Ernest Serebrennikov (sports TV commentator, director) - about the first match:

One can only be amazed at how right Victor and his comrades were with this idea - there were more spectators than at the match of master teams. Journalism stars were also ready to come here: Nikolai Nikolaevich Ozerov was there, Gennady Orlov, our colleague, was reporting, there were journalists from many newspapers, and a huge number of spectators. And it immediately became clear that this idea was wonderful. (From a program in memory of Viktor Reznikov, St. Petersburg television, 1994)

Project "SUS"

In 1991, the Soviet-American group “SUS” (Soviet Union-United States) was organized - a project of V. Reznikov and singer, composer and musician Dan Merrill. The group also included musicians Steven Boutet, Vladimir Gustov and Dmitry Evdomakha. In August 1991, Dan Merrill flew to St. Petersburg and the band recorded an album (later unreleased). It also included several already known songs by Reznikov, for which D. Merill wrote new lyrics in English. To the songs "Another Try" And "Place In My Heart" video clips were shot. There was a program on television about the new group. The SUS project, which brought together talented musicians and arrangers, had excellent prospects. If not for the tragedy.

Death

On February 22, 1992, Viktor Reznikov drove his VAZ 2106 car to take his daughter Anya to her mother, Liliya Efimovna. He was already approaching his mother’s house and took a right turn in order to turn in the opposite direction in one go and stop (Belgradskaya Street), began a U-turn, at that moment a Volga car driving behind him in the second row crashed into his car, into the driver’s door. high speed. . The daughter was not injured in the accident. The accident occurred in front of the composer's mother, who went out to meet him and stood on the other side of the street.

Reznikov spent more than two days in the Military Medical Academy of St. Petersburg, but all the doctors’ efforts were in vain. Viktor Reznikov died on February 25. He was buried at the Komarovskoye cemetery in the suburbs of St. Petersburg.

From television programs in memory of Viktor Reznikov (St. Petersburg television, 1992):

“Vitya is one of the few composers and musicians who did not have bad or average songs. His songs were good and very good. And I sang all these songs...”
- Larisa Dolina

“Victor lived very little, but did a lot for us, for everyone living on Earth. There is no such person in our country who would not love, listen to, or sing Victor’s songs. Almost all the most popular singers considered it an honor to include his melodies in their repertoire. His talent was recognized abroad. This is the first composer to take one of the first leading positions in the most prestigious magazine in the world - the American magazine Billboard. He left in the prime of his life - physically and creatively. Today, when there is so much vulgarity, dirt, uncleanliness, musical heresy filling the airwaves, his music was like a breath of fresh air, like a clean spring. He was extraordinarily talented. A great melodist. He did not acquire this talent in the world, it was given from above - by God. He knew it, he felt it, he took care of this talent and did not squander it. A person with a keen taste. I am happy that I knew him and worked a lot. We have lived a great long creative life. There were many plans ahead, but... He was a very kind guy. This is his main character trait. And therefore all his songs, all his music are permeated with kindness. Truly one can say about him: “And he awakened good feelings with his lyre.” It's so difficult today. This is a very difficult road. He achieved his goal: his songs were loved, loved and will be loved, and our children, our children’s children will sing. His music is written from the heart...

We often do not have time to say beautiful, kind, sensitive, gentle words to our friends. I made it. I always told him: “Vitka, you’re a god and you don’t know it yourself!” He laughed. I have always admired his talent...”

- Mikhail Boyarsky

Family

• Mother - Liliya Efimovna Reznikova
• Father - Mikhail Yakovlevich Reznikov
• Wife - Lyudmila Aleksandrovna Reznikova. General Director of Radio Record, St. Petersburg
  • Son - Andrey Viktorovich Reznikov. General producer of Radio Record, St. Petersburg, general producer of MTV Russia
  • Daughter - Anna Viktorovna Reznikova

Confession

Memory

• After Reznikov’s death, his wife Lyudmila Kolchugina-Reznikova, together with the composer’s friends, organized the Victor Reznikov Foundation and headed it. The foundation has a Children's Musical Theater named after Viktor Reznikov. Twice a year, the children's musical theater holds memorial concerts dedicated to the composer's birthday and death. Theater address: St. Petersburg, Stachek Avenue, building 105.
• In April 1992, in St. Petersburg, at the Oktyabrsky Concert Hall, an evening in memory of V. Reznikov was held with the participation of popular Russian pop artists.
• The documentary film “Captain with the Blagodatnaya” (1993) is dedicated to the composer. Screenwriter Diana Berlin, director Elena Tokmakova.
• In February 1994, a football match took place in St. Petersburg with the participation of the Russian pop star team “Starko”, dedicated to the memory of V. Reznikov.
• In the 1990s, the International Competition for Young Composers named after. V. Reznikova.
• In 1997, a book of memoirs by Reznikov’s mother Liliya Reznikova, “Where are you, my son, where are you?” was published. (St. Petersburg. Publishing house "Corvus"). Liliya Reznikova also wrote a song dedicated to the memory of her son.
• Several songs are dedicated to the memory of Viktor Reznikov:
  • Alexander Rosenbaum - “Listen, old man (to Reznikov).” The song was written during Reznikov's lifetime. The album “Nostalgia” (1994) was included under the title “Shtander (Dedicated to Viktor Reznikov).”
  • Yuri Loza - “In Memory of Viktor Reznikov” (1992). Later included in the album “Sacred Places” (2000).
  • Vyacheslav Malezhik - “In this old house... (In memory of V. Reznikov)” (lyricist - Vladimir Khaletsky). Included in the album “Songs with Guitar” (1998).
  • Mikhail Boyarsky - “Requiem (In Memory of Viktor Reznikov)” (author - Viktor Maltsev. Included in the album “Count Lane” (2003).
  • Leonid Agutin - Remember him
• One of the episodes of the musical program “Property of the Republic” (Channel One; broadcast on January 28, 2011) was dedicated to Reznikov.
• On October 15, 2011, the first Children's Football Tournament named after. Viktor Reznikov among the football teams of students in grades 3-5 of schools in the Primorsky district of St. Petersburg.

Songs

In total, the composer wrote about a hundred songs (both in collaboration with poets and based on his own texts), many of them became hits. They were and are still performed by popular Soviet, Russian and foreign pop singers.

1. “Another Try” (lyrics by Daniel Merrill) - Spanish. Soviet-American group "SUS"
2. “Cupid Boy” (lyrics by Daniel Merrill) - Spanish. Soviet-American group "SUS"
3. “Don"t Stop Now” (lyrics by Todd Cerney and Harold Payne) - Spanish American group “The Cover Girls”
4. “Merciless Time” (lyrics by Daniel Merrill) - Spanish. Victor Reznikov, participants of the children's musical theater named after. V. Reznikova
5. “Place In My Heart” (lyrics by Daniel Merrill) - Spanish. Soviet-American group “SUS”, Natalya Shateeva
6. “These Eyes” (lyrics by Daniel Merrill) - Spanish. Soviet-American group "SUS"
7. “Jog” (lyrics by Viktor Reznikov) - Spanish. Victor Reznikov, VIA "Pesnyary"
8. “Bioclocks” (lyrics by Alexey Rimitsan) - Spanish. Valery Leontyev
9. “Tramp April” (lyrics by Viktor Reznikov) - Spanish. participants of the children's musical theater named after. V. Reznikova
10. “Paper Kite” (lyrics by Viktor Reznikov) - Spanish. Irina Ponarovskaya, Alla Pugacheva, Dmitry Malikov (also in a duet with Victoria Bogoslavskaya - “Star Factory 4”), rock group “Bi-2”, Leonid Agutin (also in a duet with Nastya Petrik), Ekaterina Kataeva (ans. “Viva” Solo!”, Astrakhan), group “Nine Lives” (Stavropol), Andrey Alexandrin, Vlad Sokolovsky
11. “Venice” (lyrics by Viktor Reznikov) - Spanish. Victor Reznikov
12. “Spring Rain” (lyrics by Viktor Reznikov)
13. “Wind” (lyrics by Ilya Reznik)
14. “Leap Year” (lyrics by Viktor Reznikov)
15. “Diver” (lyrics by Viktor Reznikov) - Spanish. Gennady Bogdanov and the rock group “Marathon” (directed by Viktor Smirnov)
16. “Come back” (lyrics by Viktor Reznikov)
17. “Waves, waves” (lyrics by Viktor Reznikov)
18. “Everything seems to be fine” (lyrics by Viktor Reznikov) - Spanish. Mikhail Boyarsky
19. “Everything is empty” (lyrics by Viktor Reznikov) - Spanish. Victor Reznikov, Anastasia Travkina (St. Petersburg), Mikhail Boyarsky (producer Vasily Goncharov)
20. “Everything that happened” (lyrics by Viktor Reznikov)
21. “I give” (lyrics by Viktor Reznikov)
22. “I give, I give” (lyrics by Alexei Rimitsan) - Spanish. beat quartet "Secret"
23. “Two colors” (lyrics by Viktor Reznikov) - Spanish. Victor Reznikov
24. “Twelve months of the year” (lyrics by Victor Gin) - Spanish. Victor Reznikov
25. “Dvorik” (“My yard”) (lyrics by Yuri Bodrov) - Spanish. Victor Reznikov, Tõnis Mägi and the rock group “Music Safe”, Roza Rymbaeva, Mikhail Boyarsky, Ekaterina Surzhikova, Maria Kats, Maxim Leonidov
26. “Hang Glider” (lyrics by Viktor Reznikov) - Spanish. Larisa Dolina, Sofia Rotaru
27. “Birthday” (lyrics by Viktor Reznikov)
28. “Dinosaurs” (lyrics by Alexey Rimitsan) - Spanish. quartet: Sergey and Mikhail Boyarsky, Andrey and Victor Reznikov; VIA "KAVER" (St. Petersburg)
29. “Brownie” (lyrics by Alexei Rimitsan and Viktor Reznikov) - Spanish. Victor Reznikov; quartet: Sergei and Mikhail Boyarsky, Andrei and Viktor Reznikov; Larisa Dolina, duet Larisa Dolina and Angelina Mionchinskaya
30. “The Road of Peace” (lyrics by Lilia Vinogradova) - Spanish. Victor Reznikov
31. “Pearl” (“In the morning dawn”, “Mystery”) (lyrics by Ilya Shustarovich) - Spanish. Anne Vesky
32. “Make a wish” (lyrics by Viktor Reznikov)
33. “Spare” (lyrics by Viktor Reznikov) - Spanish. Victor Reznikov
34. “Golden Gate” (lyrics by Viktor Reznikov) - Spanish. Victor Reznikov
35. “How are you, old man?” (lyrics by Viktor Reznikov and Maxim Leonidov) - Spanish. beat quartet "Secret"
36. “What a pity” (“You are not with me”) (lyrics by Viktor Reznikov) - Spanish. Viktor Reznikov, Jaak Joala (also, in Estonian under the title “Nii kokku me ei saagi eal”, with lyrics by Kustas Kikerpuu), Anna Shirochenko, Lolita Milyavskaya, Sergey Penkin (also, in a duet with Lolita Milyavskaya), Evelin Pange (under title "Nii kokku me ei saagi eal", in Estonian)
37. “House of Cards” (lyrics by Lilia Vinogradova) - Spanish. Victor Reznikov, Valery Leontyev, Irina Otieva, Gennady Bogdanov and the rock group “Marathon” (under Viktor Smirnov), Mikhail Boyarsky, Tatyana Bulanova
38. "Who is guilty?" (lyrics by Viktor Reznikov) - Spanish. Valery Leontiev, Igor Ivanov, Irina Otieva, Natalya Nurmukhamedova
39. “Labyrinth” (lyrics by Viktor Reznikov?) - Spanish. Victor Reznikov
40. “Lazy Dwarf” (“Gnome”) (lyrics by Viktor Reznikov) - Spanish. Victor Reznikov, VIA "Pesnyary"
41. “Summer without you” (lyrics by Viktor Reznikov) - Spanish. Mikhail Boyarsky, Larisa Dolina, Tatyana Antsiferova, Vladislav Kachura, Oleg Gazmanov and the group “Visit” (Kaliningrad), vocal and instrumental duet “The Goryachev Brothers” (Yalta), Dmitry Kobozev, Grisha Urgant, Varvara Vizbor
42. “Ice” (lyrics by Viktor Reznikov) - Spanish. Victor Reznikov, Larisa Dolina, Gennady Bogdanov and the rock group “Marathon” (under Viktor Smirnov), Andrey Reznikov and Sergey Boyarsky, group “Assorted”, Sati Kazanova, Alexander Panayotov, Dmitry Kobozev
43. “I’m changing” (lyrics by Andrei Voznesensky) - Spanish. Tõnis Mägi and Ivo Linna
44. “Find me” (lyrics by Viktor Reznikov)
45. “Find me a horseshoe” (lyrics by Viktor Reznikov)
46. “It’s no problem” (lyrics by Viktor Reznikov) - Spanish. Jaak Joala (also called “See on hea” in Estonian, lyrics by Valli Ojavere), Mikhail Boyarsky
47. “Don’t wait for me” (lyrics by Igor Kokhanovsky) - Spanish. Jasmine
48. “Don’t forget” (lyrics by Andrei Voznesensky) - Spanish. Maxim Leonidov
49. “Don’t read between the lines” (lyrics by Viktor Reznikov) - Spanish. Victor Reznikov, Nagima Eskalieva; Ivo Linna and the rock band "Rock Hotel" (in Estonian under the name "Varjata Head Ei Saa")
50. “Touchy” (lyrics by Viktor Reznikov) - Spanish. Viktor Reznikov, Gennady Bogdanov and the rock group “Marathon” (produced by Viktor Smirnov), Vladimir Presnyakov (junior), Vlad Sokolovsky (also in a duet with Nyusha); called “Isha Ahzarit” - Maxim Leonidov (in Hebrew), group “Assorted”
51. “Never” (lyrics by Tatyana Kalinina) - Spanish. Victor Reznikov, Anna Shirochenko
52. “New Year” (lyrics by Viktor Reznikov) - Spanish. Viktor Reznikov, Jaak Joala, Larisa Dolina, Batyrkhan Shukenov; At the “Song of the Year 2012” festival, the song was performed by Russian pop stars L. Dolina, L. Leshchenko, V. Meladze and others.
53. “New countdown” (lyrics by Lilia Vinogradova) - Spanish. Anne Veski (also in Estonian under the title "Maapealne Tee" - based on poems by the Estonian poet Leelo Tungal)
54. "Night, away!" (lyrics by Alexei Rimitsan) - Spanish. quartet: Sergey and Mikhail Boyarsky, Andrey and Victor Reznikov
55. “Stop” (lyrics by Viktor Reznikov) - Spanish. Victor Reznikov, Larisa Dolina, Roman Emelianenko
56. “Bird of Passage” (lyrics by Viktor Reznikov) - Laima Vaikule (posthumous studio “duet” with Viktor Reznikov)
57. “Lucky” (lyrics by Viktor Reznikov)
58. “Late Love” (lyrics by Viktor Reznikov)
59. “Half” (lyrics by Viktor Reznikov) - Spanish. Larisa Dolina (also, in a duet with Elena Terleeva), Ani Lorak (also, in a duet with Sergei Penkin), group A’Studio, Dmitry Kobozev
60. "Why?" (lyrics by Viktor Reznikov) - Spanish. Viktor Reznikov, Gennady Bogdanov and the rock group “Marathon” (directed by Viktor Smirnov)
61. “Trainee Katya” (lyrics by Alexei Rimitsan) - Spanish. Larisa Dolina
62. “Confession” (lyrics by Viktor Reznikov) - Spanish. Victor Reznikov, Maryana Ganicheva, Larisa Dolina, Lyudmila Senchina, Valery Leontiev, Igor Ivanov, Roman Emelyanenko, Vladimir Presnyakov (junior), Gintare Yautakaite, Batyrkhan Shukenov, VIA "Nadezhda", Vitaly Kiyashko (saxophone), DJ Tsvetkoff (Alexey Tsvetkov) and Alla Dovlatova
63. “Confession” (version with lyrics by Ilya Reznik) - Spanish. Alla Pugacheva
64. “Sign” (lyrics by Viktor Reznikov) - Spanish. Alla Pugacheva, Anna Shirochenko, Tatyana Shaternik (Belarus)
65. “Light” (lyrics by Alexey Rimitsan) - Spanish. Viktor Reznikov and the rock group “Marathon” (directed by Viktor Smirnov)
66. “I had a dream” (lyrics by Viktor Reznikov) - Spanish Lev Leshchenko and the group “Spectrum”, Albert Asadullin
67. “Soldier” (lyrics by Sergei Ostrovoy) - Spanish. Victor Reznikov, Alla Pugacheva, Larisa Dolina, Lyudmila Senchina
68. “Sonnet” (“Shakespeare’s Sonnet (65)”) (lyrics by William Shakespeare, translation by S. Marshak) - Spanish. Victor Reznikov, Valery Leontyev, VIA "Pesnyary", Dmitry Kobozev (under the name "Bitter Thoughts")
69. “Thank you, dear” (“Thank you for the day, thank you for the night”) (lyrics by Viktor Reznikov, 3rd verse - Alexey Rimitsan) - Spanish. Victor Reznikov, Mikhail Boyarsky, Victor Saltykov, Dmitry Malikov (instrumental version), Ani Lorak (“Thank you, my dear”)
70. “Old Photographer” (lyrics by Viktor Reznikov) - Spanish. Viktor Reznikov, Anne Veski (and also, in Estonian under the name “Fotograaf” - with words by J. Veski)
71. “Fate” (lyrics by Anatoly Monastyrev and Olga Pisarzhevskaya) - Spanish. Victor Reznikov, Gintare Jautakaite, Anna Shirochenko, Olga Yufereva, Marina Kapuro, Anne Veski (recorded two versions of the song included in the double album “Everything Happens” / “Kõike juhtub”: in Russian and in Estonian under the name “Ei Saatusega Vaidle Ma ")
72. “The same” (lyrics by Andrei Voznesensky) - Spanish. Victor Reznikov, Anastasia Travkina (St. Petersburg)
73. “Tandem” (lyrics by Nikolai Zinoviev) - Spanish. Jaak Joala and VIA "Radar", VIA "Pesnyary", Nagima Eskalieva, Larisa Dolina
74. “Dance with me” (lyrics by Viktor Reznikov) - Spanish. Victor Reznikov, Larisa Dolina, Anastasia Travkina (St. Petersburg)
75. “Telephone” (“New Telephone”) (lyrics by Viktor Reznikov) - VIA “Pesnyary”, Larisa Dolina
76. “Phone Book” (lyrics by Viktor Reznikov) - Spanish. Victor Reznikov, Alla Pugacheva, Larisa Dolina, Lolita Milyavskaya, Ada Martynova and gr. Miracle Island (St. Petersburg), Zhanna Orynbasarova (Kazakhstan), Rita Trence and Pēteris Stutāns (in Latvian under the name “Telefonu grāmatiņa”, written by Pēteris Stutāns)
77. “You freeze on the threshold” (lyrics by Lilia Vinogradova) - Spanish. Marina Kapuro and Victor Reznikov (duet), Marina Kapuro and Mikhail Boyarsky (duet). In 2004, a new one was written to the melody of the song (“You freeze on the threshold”) - “Once Upon a Christmas” (with lyrics by Karen Kavaleryan). The song was first performed on January 1 in the program “Blue Light on Shabolovka” performed by the group “Prime Minister” and Valeria.
78. “Beehive” (lyrics by Alexey Rimitsan) - Spanish. Gennady Bogdanov and the rock group “Marathon” (directed by Viktor Smirnov)
79. “Fly away, cloud” (lyrics by Viktor Reznikov) - Spanish. Alla Pugacheva, Philip Kirkorov, VIA “Rhythm” p/u Alexander Avilov (instrumental version)
80. “Football” (lyrics by Viktor Reznikov) - Spanish. Victor Reznikov
81. “Julia” (lyrics by Viktor Reznikov) - Spanish. Victor Reznikov
82. “I live” (lyrics by Viktor Reznikov, Alexey Rimitsan) - Spanish. Valery Leontyev
83. “I will forget about you” (lyrics by Igor Kokhanovsky) - Spanish. Victor Reznikov, Anna Shirochenko, Olga Yufereva, Mikhail Boyarsky, Natalya Shateeva, DJ Tsvetkoff and the duo “Caramel”
84. “I don’t believe” (lyrics by Viktor Reznikov)
85. “I can’t dance” (lyrics by Viktor Reznikov, Yuri Bodrov) - Spanish. Viktor Reznikov, Larisa Dolina, Tõnis Mägi (also called “Peegel” in Estonian), Valery Leontiev, Igor Ivanov, VIA “Nadezhda”, group “Fun2Mass” (also known as the Hotel Atlantique project), Estonian VIA “Regatt” (in Estonian under the name "Peegel"), group "Pilotage", group "Assorted", Alexander Revva, Dmitry Kobozev

Discography

Filmography

Sources

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Links

• Victor Reznikov (English) on the Internet Movie Database website
• group “The Cover Girls” for the song “Don’t Stop Now” (music by Viktor Reznikov)
• You can read fragments of the memoirs of L. E. Reznikova at the address on the website of G. Lyubovskikh
• (Live journal of Sergei Grushevsky)

Excerpt characterizing Reznikov, Viktor Mikhailovich

That same night, having bowed to the Minister of War, Bolkonsky went to the army, not knowing where he would find it, and fearing on the way to Krems to be intercepted by the French.
In Brünn, the entire court population packed up, and the burdens were already sent to Olmütz. Near Etzelsdorf, Prince Andrei drove out onto the road along which the Russian army was moving with the greatest haste and in the greatest disorder. The road was so crowded with carts that it was impossible to travel in a carriage. Having taken a horse and a Cossack from the Cossack commander, Prince Andrei, hungry and tired, overtaking the carts, rode to find the commander-in-chief and his cart. The most ominous rumors about the position of the army reached him on the way, and the sight of the army randomly running confirmed these rumors.
“Cette armee russe que l"or de l"Angleterre a transportee, des extremites de l"univers, nous allons lui faire eprouver le meme sort (le sort de l"armee d"Ulm)", ["This Russian army, which English gold was brought here from the end of the world, will experience the same fate (the fate of the Ulm army).”] he recalled the words of Bonaparte’s order to his army before the start of the campaign, and these words equally aroused in him surprise at the brilliant hero, a feeling of offended pride and hope of glory. “What if there is nothing left but to die? Well, if necessary, I will do it no worse than others.”
Prince Andrei looked with contempt at these endless, interfering teams, carts, parks, artillery and again carts, carts and carts of all possible types, overtaking one another and jamming the dirt road in three or four rows. From all sides, behind and in front, as long as one could hear one could hear the sounds of wheels, the rumble of bodies, carts and carriages, the clatter of horses, blows of a whip, shouts of urging, curses of soldiers, orderlies and officers. Along the edges of the road one could constantly see either fallen, skinned and unkempt horses, or broken carts, in which lonely soldiers were sitting, waiting for something, or soldiers separated from their teams, who were heading in crowds to neighboring villages or dragging chickens, sheep, hay or hay from the villages. bags filled with something.
On the descents and ascents the crowds became thicker, and there was a continuous groan of shouts. The soldiers, sinking knee-deep in mud, picked up guns and wagons in their hands; whips beat, hooves slid, lines burst and chests burst with screams. The officers in charge of the movement drove forward and backward between the convoys. Their voices were faintly audible amid the general roar, and it was clear from their faces that they despaired of being able to stop this disorder. “Voila le cher [“Here is the dear] Orthodox army,” thought Bolkonsky, remembering the words of Bilibin.
Wanting to ask one of these people where the commander-in-chief was, he drove up to the convoy. Directly opposite him was riding a strange, one-horse carriage, apparently constructed at home by soldiers, representing a middle ground between a cart, a convertible and a carriage. The carriage was driven by a soldier and sat under a leather top behind an apron, a woman, all tied with scarves. Prince Andrei arrived and had already addressed the soldier with a question when his attention was drawn to the desperate cries of a woman sitting in a tent. The officer in charge of the convoy beat the soldier, who was sitting as a coachman in this carriage, because he wanted to go around others, and the whip hit the apron of the carriage. The woman screamed shrilly. Seeing Prince Andrei, she leaned out from under her apron and, waving her thin arms that had jumped out from under the carpet scarf, shouted:
- Adjutant! Mr. Adjutant!... For God's sake... protect... What will this happen?... I am the doctor's wife of the 7th Jaeger... they won't let me in; we fell behind, lost our own...
- I’ll break you into a cake, wrap it up! - the embittered officer shouted at the soldier, - turn back with your whore.
- Mr. Adjutant, protect me. What is this? – the doctor shouted.
- Please let this cart pass. Can't you see that this is a woman? - said Prince Andrei, driving up to the officer.
The officer looked at him and, without answering, turned back to the soldier: “I’ll go around them... Back!...
“Let me through, I’m telling you,” Prince Andrei repeated again, pursing his lips.
- And who are you? - the officer suddenly turned to him with drunken fury. - Who are you? Are you (he especially emphasized you) the boss, or what? I'm the boss here, not you. “You go back,” he repeated, “I’ll smash you into a piece of cake.”
The officer apparently liked this expression.
“He shaved the adjutant seriously,” a voice was heard from behind.
Prince Andrei saw that the officer was in that drunken fit of causeless rage in which people do not remember what they say. He saw that his intercession for the doctor’s wife in the wagon was filled with what he feared most in the world, what is called ridicule [ridiculous], but his instinct said something else. Before the officer had time to finish his last words, Prince Andrei, his face disfigured from rage, rode up to him and raised his whip:
- Please let me in!
The officer waved his hand and hurriedly drove away.
“It’s all from them, from the staff, it’s all a mess,” he grumbled. - Do as you please.
Prince Andrei hastily, without raising his eyes, rode away from the doctor's wife, who called him a savior, and, recalling with disgust the smallest details of this humiliating scene, galloped further to the village where, as he was told, the commander-in-chief was located.
Having entered the village, he got off his horse and went to the first house with the intention of resting at least for a minute, eating something and bringing into clarity all these offensive thoughts that tormented him. “This is a crowd of scoundrels, not an army,” he thought, approaching the window of the first house, when a familiar voice called him by name.
He looked back. Nesvitsky’s handsome face poked out from a small window. Nesvitsky, chewing something with his juicy mouth and waving his arms, called him to him.
- Bolkonsky, Bolkonsky! Don't you hear, or what? “Go quickly,” he shouted.
Entering the house, Prince Andrei saw Nesvitsky and another adjutant eating something. They hastily turned to Bolkonsky asking if he knew anything new. On their faces, so familiar to him, Prince Andrei read an expression of anxiety and concern. This expression was especially noticeable on Nesvitsky’s always laughing face.
-Where is the commander-in-chief? – asked Bolkonsky.
“Here, in that house,” answered the adjutant.
- Well, is it true that there is peace and surrender? – asked Nesvitsky.
– I’m asking you. I don’t know anything except that I got to you by force.
- What about us, brother? Horror! “I’m sorry, brother, they laughed at Mak, but it’s even worse for us,” Nesvitsky said. - Well, sit down and eat something.
“Now, prince, you won’t find any carts or anything, and your Peter, God knows where,” said another adjutant.
-Where is the main apartment?
– We’ll spend the night in Tsnaim.
“And I loaded everything I needed onto two horses,” said Nesvitsky, “and they made me excellent packs.” At least escape through the Bohemian mountains. It's bad, brother. Are you really unwell, why are you shuddering like that? - Nesvitsky asked, noticing how Prince Andrei twitched, as if from touching a Leyden jar.
“Nothing,” answered Prince Andrei.
At that moment he remembered his recent clash with the doctor’s wife and the Furshtat officer.
-What is the commander-in-chief doing here? - he asked.
“I don’t understand anything,” said Nesvitsky.
“All I understand is that everything is disgusting, disgusting and disgusting,” said Prince Andrei and went to the house where the commander-in-chief stood.
Passing by Kutuzov's carriage, the tortured horses of the retinue and the Cossacks speaking loudly among themselves, Prince Andrei entered the entryway. Kutuzov himself, as Prince Andrei was told, was in the hut with Prince Bagration and Weyrother. Weyrother was an Austrian general who replaced the murdered Schmit. In the entryway little Kozlovsky was squatting in front of the clerk. The clerk on an inverted tub, turning up the cuffs of his uniform, hastily wrote. Kozlovsky’s face was exhausted - he, apparently, had not slept at night either. He looked at Prince Andrei and did not even nod his head to him.
– Second line... Did you write it? - he continued, dictating to the clerk, - Kiev Grenadier, Podolsk...
“You won’t have time, your honor,” the clerk answered disrespectfully and angrily, looking back at Kozlovsky.
At that time, Kutuzov’s animatedly dissatisfied voice was heard from behind the door, interrupted by another, unfamiliar voice. By the sound of these voices, by the inattention with which Kozlovsky looked at him, by the irreverence of the exhausted clerk, by the fact that the clerk and Kozlovsky were sitting so close to the commander-in-chief on the floor near the tub, and by the fact that the Cossacks holding the horses laughed loudly under window of the house - from all this, Prince Andrei felt that something important and unfortunate was about to happen.
Prince Andrei urgently turned to Kozlovsky with questions.
“Now, prince,” said Kozlovsky. – Disposition to Bagration.
-What about capitulation?
- There is none; orders for battle have been made.
Prince Andrei headed towards the door from behind which voices were heard. But just as he wanted to open the door, the voices in the room fell silent, the door opened of its own accord, and Kutuzov, with his aquiline nose on his plump face, appeared on the threshold.
Prince Andrei stood directly opposite Kutuzov; but from the expression of the commander-in-chief’s only seeing eye it was clear that thought and concern occupied him so much that it seemed to obscure his vision. He looked directly at the face of his adjutant and did not recognize him.
- Well, have you finished? – he turned to Kozlovsky.
- Right this second, Your Excellency.
Bagration, a short man with an oriental type of firm and motionless face, a dry, not yet old man, followed the commander-in-chief.
“I have the honor to appear,” Prince Andrei repeated quite loudly, handing over the envelope.
- Oh, from Vienna? Fine. After, after!
Kutuzov went out with Bagration onto the porch.
“Well, prince, goodbye,” he said to Bagration. - Christ is with you. I bless you for this great feat.
Kutuzov's face suddenly softened, and tears appeared in his eyes. He pulled Bagration to him with his left hand, and with his right hand, on which there was a ring, apparently crossed him with a familiar gesture and offered him his plump cheek, instead of which Bagration kissed him on the neck.
- Christ is with you! – Kutuzov repeated and walked up to the carriage. “Sit down with me,” he said to Bolkonsky.
– Your Excellency, I would like to be useful here. Let me stay in the detachment of Prince Bagration.
“Sit down,” said Kutuzov and, noticing that Bolkonsky was hesitating, “I need good officers myself, I need them myself.”
They got into the carriage and drove in silence for several minutes.
“There is still a lot ahead, there will be a lot of things,” he said with an senile expression of insight, as if he understood everything that was happening in Bolkonsky’s soul. “If one tenth of his detachment comes tomorrow, I will thank God,” added Kutuzov, as if speaking to himself.
Prince Andrei looked at Kutuzov, and he involuntarily caught his eye, half an arshin away from him, the cleanly washed assemblies of the scar on Kutuzov’s temple, where the Izmail bullet pierced his head, and his leaking eye. “Yes, he has the right to talk so calmly about the death of these people!” thought Bolkonsky.
“That’s why I ask you to send me to this detachment,” he said.
Kutuzov did not answer. He seemed to have already forgotten what he had said and sat thoughtful. Five minutes later, smoothly rocking on the soft springs of the stroller, Kutuzov turned to Prince Andrei. There was no trace of excitement on his face. With subtle mockery, he asked Prince Andrei about the details of his meeting with the emperor, about the reviews he had heard at court about the Kremlin affair, and about some common women he knew.

Kutuzov, through his spy, received news on November 1 that put the army he commanded in an almost hopeless situation. The scout reported that the French in huge numbers, having crossed the Vienna bridge, headed towards Kutuzov’s route of communication with the troops coming from Russia. If Kutuzov had decided to stay in Krems, then Napoleon’s army of one and a half thousand would have cut him off from all communications, surrounded his exhausted army of forty thousand, and he would have been in Mack’s position near Ulm. If Kutuzov had decided to leave the road that led to communications with troops from Russia, then he would have had to enter without a road into the unknown lands of the Bohemian
mountains, defending themselves from superior enemy forces, and abandoning all hope of communication with Buxhoeveden. If Kutuzov had decided to retreat along the road from Krems to Olmutz to join forces with troops from Russia, then he risked being warned on this road by the French who had crossed the bridge in Vienna, and thus being forced to accept battle on the march, with all the burdens and convoys, and dealing with an enemy three times his size and surrounding him on both sides.
Kutuzov chose this last exit.
The French, as the spy reported, having crossed the bridge in Vienna, were marching in an intensified march towards Znaim, which lay on Kutuzov’s retreat route, more than a hundred miles ahead of him. To reach Znaim before the French meant to have great hope of saving the army; to allow the French to warn themselves in Znaim would probably mean exposing the entire army to a disgrace similar to that of Ulm, or to general destruction. But it was impossible to warn the French with their entire army. The French road from Vienna to Znaim was shorter and better than the Russian road from Krems to Znaim.
On the night of receiving the news, Kutuzov sent Bagration’s four-thousand-strong vanguard to the right over the mountains from the Kremlin-Znaim road to the Vienna-Znaim road. Bagration had to go through this transition without rest, stop facing Vienna and back to Znaim, and if he managed to warn the French, he had to delay them as long as he could. Kutuzov himself, with all his hardships, set out for Znaim.
Having walked with hungry, shoeless soldiers, without a road, through the mountains, on a stormy night forty-five miles, having lost a third of the stragglers, Bagration went to Gollabrun on the Vienna Znaim road several hours before the French approached Gollabrun from Vienna. Kutuzov had to walk another whole day with his convoys to reach Znaim, and therefore, in order to save the army, Bagration, with four thousand hungry, exhausted soldiers, had to hold off for a day the entire enemy army that met him in Gollabrun, which was obvious , impossible. But a strange fate made the impossible possible. The success of that deception, which gave the Vienna bridge into the hands of the French without a fight, prompted Murat to try to deceive Kutuzov in the same way. Murat, having met Bagration’s weak detachment on the Tsnaim road, thought that it was the entire army of Kutuzov. In order to undoubtedly crush this army, he waited for the troops that had fallen behind on the road from Vienna and for this purpose proposed a truce for three days, with the condition that both troops would not change their positions and would not move. Murat insisted that negotiations for peace were already underway and that, therefore, avoiding useless shedding of blood, he was offering a truce. The Austrian general Count Nostitz, who was stationed at the outposts, believed the words of the envoy Murat and retreated, revealing Bagration’s detachment. Another envoy went to the Russian chain to announce the same news about peace negotiations and offer a truce to the Russian troops for three days. Bagration replied that he could not accept or not accept a truce, and with a report of the proposal made to him, he sent his adjutant to Kutuzov.
The truce for Kutuzov was the only way to gain time, give Bagration’s exhausted detachment a rest and allow convoys and loads to pass through (the movement of which was hidden from the French), although there was one extra march to Znaim. The offer of a truce provided the only and unexpected opportunity to save the army. Having received this news, Kutuzov immediately sent Adjutant General Wintzingerode, who was with him, to the enemy camp. Winzengerode had to not only accept the truce, but also offer terms of surrender, and meanwhile Kutuzov sent his adjutants back to hurry as much as possible the movement of the entire army's convoys along the Kremlin-Znaim road. The exhausted, hungry detachment of Bagration alone had to, covering this movement of the convoys and the entire army, remain motionless in front of an enemy eight times stronger.
Kutuzov's expectations came true both regarding the fact that the non-binding offers of surrender could give time for some of the convoys to pass through, and regarding the fact that Murat's mistake was to be revealed very soon. As soon as Bonaparte, who was in Schönbrunn, 25 versts from Gollabrun, received Murat’s report and the draft truce and capitulation, he saw the deception and wrote the following letter to Murat:
Au prince Murat. Schoenbrunn, 25 brumaire en 1805 a huit heures du matin.
“II m"est impossible de trouver des termes pour vous exprimer mon mecontentement. Vous ne commandez que mon avant garde et vous n"avez pas le droit de faire d"armistice sans mon ordre. Vous me faites perdre le fruit d"une campagne . Rompez l"armistice sur le champ et Mariechez a l"ennemi. Vous lui ferez declarer, que le general qui a signe cette capitulation, n"avait pas le droit de le faire, qu"il n"y a que l"Empereur de Russie qui ait ce droit.
“Toutes les fois cependant que l"Empereur de Russie ratifierait la dite convention, je la ratifierai; mais ce n"est qu"une ruse. Mariechez, detruisez l"armee russe... vous etes en position de prendre son bagage et son artiller.
"L"aide de camp de l"Empereur de Russie est un... Les officiers ne sont rien quand ils n"ont pas de pouvoirs: celui ci n"en avait point... Les Autrichiens se sont laisse jouer pour le passage du pont de Vienne , vous vous laissez jouer par un aide de camp de l"Empereur. Napoleon."
[To Prince Murat. Schönbrunn, 25 Brumaire 1805 8 am.
I can't find words to express my displeasure to you. You command only my vanguard and have no right to make a truce without my order. You are making me lose the fruits of an entire campaign. Immediately break the truce and go against the enemy. You will tell him that the general who signed this surrender did not have the right to do so, and no one has the right to do so, with the exception of the Russian emperor.
However, if the Russian emperor agrees to the mentioned condition, I will also agree; but this is nothing more than a trick. Go, destroy the Russian army... You can take its convoys and its artillery.
The general adjutant of the Russian emperor is a deceiver... Officers mean nothing when they do not have authority; he also does not have it... The Austrians allowed themselves to be deceived when crossing the Vienna bridge, and you allow yourself to be deceived by the emperor’s adjutants.
Napoleon.]
Bonaparte's adjutant galloped at full speed with this menacing letter to Murat. Bonaparte himself, not trusting his generals, moved with his entire guard to the battlefield, fearing to miss the ready victim, and Bagration’s 4,000-strong detachment, cheerfully laying fires, dried, warmed up, cooked porridge for the first time after three days, and none of the people in the detachment knew and did not think about what lay ahead of him.

At four o'clock in the evening, Prince Andrei, having insisted on his request from Kutuzov, arrived in Grunt and appeared to Bagration.
Bonaparte's adjutant had not yet arrived at Murat's detachment, and the battle had not yet begun. Bagration’s detachment knew nothing about the general course of affairs; they talked about peace, but did not believe in its possibility. They talked about the battle and also did not believe that the battle was close. Bagration, knowing Bolkonsky to be a beloved and trusted adjutant, received him with special superiority and condescension, explained to him that there would probably be a battle today or tomorrow, and gave him complete freedom to be with him during the battle or in the rearguard to observe the retreat order , “which was also very important.”
“However, today, probably, there will be no business,” said Bagration, as if reassuring Prince Andrei.
“If this is one of the ordinary staff dandies sent to receive a cross, then he will receive a reward in the rearguard, and if he wants to be with me, let him... come in handy, if he is a brave officer,” thought Bagration. Prince Andrei, without answering anything, asked the prince’s permission to go around the position and find out the location of the troops so that, in case of an assignment, he would know where to go. The officer on duty of the detachment, a handsome man, smartly dressed and with a diamond ring on his index finger, who spoke poor but willing French, volunteered to escort Prince Andrei.
From all sides one could see wet officers with sad faces, as if they were looking for something, and soldiers dragging doors, benches and fences from the village.
“We can’t, prince, get rid of these people,” said the headquarters officer, pointing to these people. - The commanders are disbanding. But here,” he pointed to the sutler’s pitched tent, “they will huddle and sit. This morning I kicked everyone out: look, it’s full again. We must drive up, prince, to scare them. One minute.
“Let’s stop by and I’ll take some cheese and a roll from him,” said Prince Andrei, who had not yet had time to eat.
- Why didn’t you say anything, prince? I would offer my bread and salt.
They got off their horses and went under the sutler's tent. Several officers with flushed and exhausted faces sat at tables, drinking and eating.
“Well, what is this, gentlemen,” said the staff officer in a tone of reproach, like a man who has already repeated the same thing several times. - After all, you can’t go away like that. The prince ordered that no one should be there. Well, here you are, Mr. Staff Captain,” he turned to the small, dirty, thin artillery officer, who, without boots (he gave them to the sutler to dry), wearing only stockings, stood in front of those who entered, smiling not entirely naturally.
- Well, don’t you feel ashamed, Captain Tushin? - the staff officer continued, - it seems like you should set an example as an artilleryman, but you are without boots. They will sound the alarm, and you will look very good without boots. (The staff officer smiled.) Please go to your places, gentlemen, that’s it, that’s it,” he added in a commanding manner.
Prince Andrey involuntarily smiled, looking at Captain Tushin’s staff. Silently and smiling, Tushin, shifting from bare foot to foot, looked questioningly with large, intelligent and kind eyes, first at Prince Andrei, then at the officer’s headquarters.
“The soldiers say: when you understand, you become more dexterous,” said Captain Tushin, smiling and timid, apparently wanting to switch from his awkward position to a humorous tone.
But he had not yet finished speaking when he felt that his joke was not accepted and did not come out. He was embarrassed.
“Please leave,” said the staff officer, trying to maintain his seriousness.
Prince Andrei looked again at the figure of the artilleryman. There was something special about her, not at all military, somewhat comic, but extremely attractive.
The staff officer and Prince Andrei mounted their horses and rode on.
Having left the village, constantly overtaking and meeting walking soldiers and officers of different commands, they saw to the left, reddening with fresh, newly dug up clay, fortifications under construction. Several battalions of soldiers wearing only their shirts, despite the cold wind, swarmed around these fortifications like white ants; From behind the shaft, unseen, shovels of red clay were constantly being thrown out. They drove up to the fortification, examined it and moved on. Just beyond the fortification they came across several dozen soldiers, constantly changing and running away from the fortification. They had to hold their noses and start their horses at a trot in order to ride out of this poisoned atmosphere.
“Voila l"agrement des camps, monsieur le prince, [This is the pleasure of the camp, prince,] said the officer on duty.
They rode out to the opposite mountain. The French were already visible from this mountain. Prince Andrei stopped and began to examine.
“Here is our battery,” said the headquarters officer, pointing to the highest point, “that same eccentric who was sitting without boots; You can see everything from there: let's go, prince.
“I humbly thank you, I’ll travel alone now,” said Prince Andrei, wanting to get rid of the officer’s staff, “please don’t worry.”
The staff officer fell behind, and Prince Andrei went alone.
The further he moved forward, closer to the enemy, the more orderly and cheerful the appearance of the troops became. The greatest disorder and despondency was in that convoy in front of Znaim, which Prince Andrei drove around in the morning and which was ten miles from the French. Grunt also felt some anxiety and fear of something. But the closer Prince Andrei came to the chain of the French, the more self-confident the appearance of our troops became. Soldiers in greatcoats stood lined up in a row, and the sergeant major and the company commander were counting people out, poking a finger in the chest of the soldier on the outermost section and ordering him to raise his hand; scattered throughout the space, the soldiers dragged firewood and brushwood and built booths, laughing and talking merrily; Dressed and naked people sat around the fires, drying shirts and tucks, or mending boots and overcoats, and crowded around the boilers and cooks. In one company, lunch was ready, and the soldiers with greedy faces looked at the smoking cauldrons and waited for the sample, which the captain brought in a wooden cup to the officer sitting on a log opposite his booth. In another, happier company, since not everyone had vodka, the soldiers stood in a crowd around a pockmarked, broad-shouldered sergeant-major, who, bending a barrel, poured into the lids of the mannequins, which were placed one by one. The soldiers with pious faces brought the manners to their mouths, knocked them over and, rinsing their mouths and wiping themselves with the sleeves of their greatcoats, walked away from the sergeant-major with cheerful faces. All the faces were so calm, as if everything was happening not in sight of the enemy, before a task where at least half of the detachment had to remain in place, but as if somewhere in their homeland, waiting for a calm stop. Having passed the Jaeger regiment, in the ranks of the Kyiv grenadiers, brave people engaged in the same peaceful affairs, Prince Andrei, not far from the tall, different from the other booth of the regimental commander, ran into the front of a platoon of grenadiers, in front of which lay a naked man. Two soldiers held him, and two waved flexible rods and struck him rhythmically on his bare back. The person being punished screamed unnaturally. The fat major walked in front of the front and, without ceasing and not paying attention to the shouting, said:
– It is shameful for a soldier to steal, a soldier must be honest, noble and brave; and if he stole from his brother, then there is no honor in him; this is a bastard. More more!
And flexible blows and a desperate, but feigned cry were heard.
“More, more,” the major said.
The young officer, with an expression of bewilderment and suffering on his face, walked away from the man being punished, looking questioningly at the passing adjutant.
Prince Andrei, having left the front line, rode along the front. Our chain and the enemy’s stood on the left and right flanks far from each other, but in the middle, in the place where the envoys passed in the morning, the chains came together so close that they could see each other’s faces and talk to each other. In addition to the soldiers occupying the chain in this place, on both sides there were many curious people who, laughing, looked at the strange and alien enemies.
From early morning, despite the ban on approaching the chain, the commanders could not fight off the curious. The soldiers standing in a chain, like people showing something rare, no longer looked at the French, but made their observations of those coming and, bored, waited for their change. Prince Andrei stopped to look at the French.
“Look, look,” one soldier said to his comrade, pointing to the Russian musketeer soldier, who with the officer approached the chain and spoke often and passionately to the French grenadier. - Look, he babbles so cleverly! The guard can't keep up with him. How about you, Sidorov!
- Wait, listen. Look, clever! - answered Sidorov, who was considered a master of speaking French.
The soldier to whom those laughing were pointing was Dolokhov. Prince Andrei recognized him and listened to his conversation. Dolokhov, together with his company commander, came into the chain from the left flank on which their regiment stood.
- Well, more, more! - the company commander instigated, bending forward and trying not to utter a single word that was incomprehensible to him. - Please, more often. What he?
Dolokhov did not answer the company commander; he was involved in a heated argument with a French grenadier. They talked, as they should have, about the campaign. The Frenchman argued, confusing the Austrians with the Russians, that the Russians had surrendered and fled from Ulm itself; Dolokhov argued that the Russians did not surrender, but beat the French.
“Here they tell you to drive you away, and we will drive you away,” said Dolokhov.
“Just try not to be taken away with all your Cossacks,” said the French grenadier.
The French spectators and listeners laughed.
“You will be forced to dance, as you danced under Suvorov (on vous fera danser [you will be forced to dance]), said Dolokhov.
– Qu"est ce qu"il chante? [What is he singing there?] - said one Frenchman.
“De l"histoire ancienne, [Ancient history],” said the other, guessing that it was about previous wars. “L”Empereur va lui faire voir a votre Souvara, comme aux autres... [The Emperor will show your Suvara, like others …]
“Bonaparte...” Dolokhov began, but the Frenchman interrupted him.
- No Bonaparte. There is an emperor! Sacre nom... [Damn it...] - he shouted angrily.
- Damn your emperor!
And Dolokhov swore in Russian, rudely, like a soldier, and, raising his gun, walked away.
“Let’s go, Ivan Lukich,” he said to the company commander.
“That’s how it is in French,” the soldiers in the chain spoke. - How about you, Sidorov!
Sidorov winked and, turning to the French, began to babble incomprehensible words often, often:
“Kari, mala, tafa, safi, muter, caska,” he babbled, trying to give expressive intonations to his voice.
- Go Go go! ha ha, ha, ha! Wow! Wow! - there was a roar of such healthy and cheerful laughter among the soldiers, which involuntarily communicated through the chain to the French, that after this it seemed necessary to unload the guns, detonate the charges and everyone should quickly go home.
But the guns remained loaded, the loopholes in the houses and fortifications looked forward just as menacingly, and just as before, the guns turned towards each other, removed from the limbers, remained.

Having traveled around the entire line of troops from the right to the left flank, Prince Andrei climbed to the battery from which, according to the headquarters officer, the entire field was visible. Here he dismounted from his horse and stopped at the outermost of the four cannons that had been removed from the limbers. In front of the guns walked the sentry artilleryman, who was stretched out in front of the officer, but at a sign made to him, he resumed his uniform, boring walk. Behind the guns there were limbers, and further back there was a hitching post and artillery fires. To the left, not far from the outermost gun, there was a new wicker hut, from which animated officer voices could be heard.
Indeed, from the battery there was a view of almost the entire location of the Russian troops and most of the enemy. Directly opposite the battery, on the horizon of the opposite hillock, the village of Shengraben was visible; to the left and to the right one could discern in three places, among the smoke of their fires, masses of French troops, of which, obviously, most of them were in the village itself and behind the mountain. To the left of the village, in the smoke, there seemed to be something similar to a battery, but it was impossible to get a good look at it with the naked eye. Our right flank was located on a rather steep hill, which dominated the French position. Our infantry was positioned along it, and the dragoons were visible at the very edge. In the center, where the Tushin battery was located, from which Prince Andrei viewed the position, there was the most gentle and straight descent and ascent to the stream that separated us from Shengraben. To the left, our troops adjoined the forest, where the fires of our infantry, chopping wood, were smoking. The French line was wider than ours, and it was clear that the French could easily get around us on both sides. Behind our position there was a steep and deep ravine, along which it was difficult for artillery and cavalry to retreat. Prince Andrei, leaning on the cannon and taking out his wallet, drew for himself a plan for the disposition of the troops. He wrote notes in pencil in two places, intending to communicate them to Bagration. He intended, firstly, to concentrate all the artillery in the center and, secondly, to transfer the cavalry back to the other side of the ravine. Prince Andrei, constantly being with the commander-in-chief, monitoring the movements of the masses and general orders and constantly engaged in historical descriptions of battles, and in this upcoming matter involuntarily thought about the future course of military operations only in general terms. He imagined only the following kind of major accidents: “If the enemy launches an attack on the right flank,” he said to himself, “the Kiev Grenadier and Podolsk Jaeger will have to hold their position until the reserves of the center approach them. In this case, the dragoons can hit the flank and overturn them. In the event of an attack on the center, we place a central battery on this hill and, under its cover, pull together the left flank and retreat to the ravine in echelons,” he reasoned with himself...
All the time that he was on the battery at the gun, he, as often happens, without ceasing, heard the sounds of the voices of the officers speaking in the booth, but did not understand a single word of what they were saying. Suddenly the sound of voices from the booth struck him with such a sincere tone that he involuntarily began to listen.
“No, my dear,” said a pleasant voice that seemed familiar to Prince Andrei, “I say that if it were possible to know what will happen after death, then none of us would be afraid of death.” So, my dear.

Viktor Mikhailovich Reznikov(May 9, 1952, Leningrad, RSFSR, USSR - February 25, 1992, St. Petersburg, Russia) - Soviet composer and singer, author of many famous pop songs.

Viktor Mikhailovich Reznikov was born on May 9, 1952 in Leningrad. Victor's parents (mother - Liliya Efimovna Reznikova, father - Mikhail Yakovlevich Reznikov) separated soon after the birth of their son. Until 1965, Victor lived with his mother in house 13/9 on Vladimirsky Avenue. He subsequently dedicated one of his most famous songs, “The Courtyard,” to the courtyard of this particular house. Then, together with their mother, grandmother and uncle, they moved to Kupchino.

From early childhood, Victor was fond of football and swimming. In addition, for some time he was involved in gymnastics, basketball and chess.

When Victor was six years old, his mother sent him to study violin at a music school. During the audition, the examination committee noted that the boy had above average abilities. However, due to Victor’s reluctance to study, health problems arose, and after three months of training, his mother took him away from the music school.

On September 1, 1958, V. Reznikov went to the 1st grade of high school, after which he entered the Shipbuilding Institute. He was interested in sports and music. He studied successfully, but after a while he realized that being an engineer was not his calling. Entered the Leningrad State Pedagogical Institute named after. A.I. Herzen at the Faculty of Physical Education and received a diploma in 1975.

Started writing songs in 1970. The first song was called "Tramp April". He was one of the first in the USSR to create music on a computer. Since 1978, Viktor Reznikov has worked at the Lenconcert State Concert Organization. The song brought fame to the composer "Fly away, cloud", performed in 1979 by the most popular Soviet pop singer Alla Pugacheva.

In the summer of 1985, he took part in the cultural program of the XII World Festival of Youth and Students in Moscow.

In the mid-1980s, Viktor Reznikov and Mikhail Boyarsky created a musical quartet, which also included their sons, Andrei Reznikov and Sergei Boyarsky. In 1986, the quartet became famous with the song "Dinosaurs". In the same year, V. Reznikov left Lenconcert. He collaborated with the Leningrad rock group “Marathon” (directed by Viktor Smirnov), whose lead singer was Gennady Bogdanov. In 1988, he headed the Leningrad branch of the All-Union Creative and Production Association SPM Record.

Viktor Reznikov is a laureate of the “Young Composers of Leningrad” festival and the All-Union television festival “Song of the Year” (1985 - "Soldier" performed by Lyudmila Senchina, 1987 - "House of cards" performed by Irina Otieva, as well as two songs performed by Larisa Dolina: "Ice"- in 1988 and 1999 and in 2000 - "Phone Book"). His songs were performed by leading singers and ensembles of the Soviet stage: Alla Pugacheva, Larisa Dolina, Valery Leontiev, Igor Ivanov, Irina Otieva, VIA "Pesnyary", Jaak Joala, Anne Veski, Lyudmila Senchina, Tõnis Mägi, Roza Rymbaeva, Lev Leshchenko, Albert Asadullin , Sofia Rotaru, beat quartet “Secret” and many others.

Viktor Reznikov wrote the music for the two-part musical film “How to Become a Star,” which received great audience success. He participated in popular programs of Leningrad Television, including “Raffle”, “New Year’s Labyrinth”, “Musical Ring” - in 1986 and 1988 (he competed with the Leningrad composer Igor Kornelyuk), and also repeatedly appeared in music programs of Central Television: “ Morning Mail”, “Wider Circle”, Festival of the program “Program “A”” (in 1990). In January 1991, the musical quartet of V. Reznikov, M. Boyarsky and their sons took part in the charity Telethon “Revival” (raising funds for the Leningrad City Foundation).

Hit parade “Hot Dance Music”

In November 1988, as part of a meeting between American artists and young Soviet composers, which took place in the USSR in the wake of perestroika, American producers became interested in Reznikov’s song “Brownie”. English lyrics were written and the new song was named "Don't Stop Now". In June 1990, the Soviet-American album was released Music Speaks Louder Than Words, which also included Victor’s song performed by The Cover Girls. At the same time, The Cover Girls released a maxi-single "Don't Stop Now / Funk Boutique"(1990). The producers managed to “promote” the song so that it entered the American dance music chart Hot Dance Music magazine Billboard, gradually rising in a few weeks from 43rd place to 2nd. This was an unprecedented case for a Soviet songwriter.

On the wave of success, Viktor Reznikov was offered to join American Society of Authors, but he was embarrassed. According to the memoirs of the composer’s widow, L.A. Reznikova, Victor replied: “You can come here (to the USA) to relax, but you have to work where you were born” (from the NTV program “I’m Staying to Live,” 2009).

Team "Starko"

In 1991, on the initiative of Viktor Reznikov, Yuri Davydov (“Zodchie”) and Mikhail Muromov, a football team of Russian pop stars “Starko” was created. The idea of ​​the project was to combine star-studded football matches and large-scale gala concerts for charitable purposes. The first captain of the team was Viktor Reznikov. The first team included leading singers and musicians of the early 90s: Vladimir Presnyakov Sr. and Vladimir Presnyakov Jr., Alexander Kutikov, Mikhail Boyarsky, Mikhail Muromov, Yuri Davydov, Yuri Loza, Sergei Belikov, Sergei Minaev, Valery Syutkin (“Bravo” "), Vyacheslav Malezhik, Chris Kelmi, Sergei Krylov, Nikolai Fomenko ("Secret"), Alexey Glyzin and many others. Ernest Serebrennikov (sports TV commentator, director) - about the first match:

One can only be amazed at how right Victor and his comrades were with this idea - there were more spectators than at the match of master teams. Journalism stars were also ready to come here: Nikolai Nikolaevich Ozerov was there, Gennady Orlov, our colleague, was reporting, there were journalists from many newspapers, and a huge number of spectators. And it immediately became clear that this idea was wonderful. (From a program in memory of Viktor Reznikov, St. Petersburg television, 1994)

The project turned out to be successful, the biography of the Starko club is still being written. Viktor Reznikov dedicated a song to his favorite sport "Football".

Project "SUS"

In 1991, the Soviet-American group “SUS” (Soviet Union-United States) was organized - a project of V. Reznikov and singer, composer and musician Dan Merrill. The group also included musicians Steven Boutet, Vladimir Gustov and Dmitry Evdomakha. In August 1991, Dan Merrill flew to St. Petersburg and the band recorded an album (later unreleased). It also included several already known songs by Reznikov, for which D. Merill wrote new lyrics in English. To the songs "Another Try" And "Place In My Heart" video clips were shot. There was a program on television about the new group. The SUS project, which brought together talented musicians and arrangers, had excellent prospects. If not for the tragedy.

Tragic death

On February 22, 1992, Viktor Reznikov drove his VAZ 2106 car to take his daughter Anya to her mother, Liliya Efimovna. He was already approaching his mother’s house and took a right turn in order to turn in the opposite direction in one go and stop (Belgradskaya Street), began a U-turn, at that moment a Volga car driving behind him in the second row crashed into his car, into the driver’s door. at high speed.. The daughter was not injured in the accident. The accident occurred in front of the composer’s mother, Liliya Efimovna Reznikova, who went out into the street to meet him and stood on the other side of the street.

The composer spent more than two days in the Military Medical Academy of St. Petersburg, but all the doctors’ efforts were in vain. Viktor Reznikov died on February 25, 1992. He was buried at the Komarovskoye cemetery in the suburbs of St. Petersburg.

From television programs in memory of Viktor Reznikov (St. Petersburg television, 1992):

“Vitya is one of the few composers and musicians who did not have bad or average songs. His songs were good and very good. And I sang all these songs...” - Larisa Dolina

“Victor lived very little, but did a lot for us, for everyone living on Earth. There is no such person in our country who would not love, listen to, or sing Victor’s songs. Almost all the most popular singers considered it an honor to include his melodies in their repertoire. His talent was recognized abroad. This is the first composer to take one of the first leading positions in the most prestigious magazine in the world - the American magazine Billboard. He left in the prime of his life - physically and creatively. Today, when there is so much vulgarity, dirt, uncleanliness, musical heresy filling the airwaves, his music was like a breath of fresh air, like a clean spring. He was extraordinarily talented. A great melodist. He did not acquire this talent in the world, it was given from above - by God. He knew it, he felt it, he took care of this talent and did not squander it. A person with a keen taste. I am happy that I knew him and worked a lot. We have lived a great long creative life. There were many plans ahead, but... He was a very kind guy. This is his main character trait. And therefore all his songs, all his music are permeated with kindness. In truth, one can say about him: “And he awakened good feelings with his lyre.” It's so difficult today. This is a very difficult road. He achieved his goal: his songs were loved, loved and will be loved, and our children, our children’s children will sing. His music is written from the heart...

We often do not have time to say beautiful, kind, sensitive, gentle words to our friends. I made it. I always told him: “Vitka, you’re a god and you don’t know it yourself!” He laughed. I have always admired his talent...”

Mikhail Boyarsky

Family

• Mother - Reznikova Liliya Efimovna
• Father - Reznikov Mikhail Yakovlevich
• Wife - Reznikova Lyudmila Alexandrovna. Now - General Director of Radio Record, St. Petersburg
  • Son - Reznikov Andrey Viktorovich. Now - general producer of Radio Record, St. Petersburg, general producer of MTV Russia
  • Daughter - Reznikova Anna Viktorovna

Confession

• Laureate of the festival “Young Composers of Leningrad”.
• 1985, 1987, 1988: Laureate of the All-Union television festival “Song of the Year”.
• 1991: the single “Don’t Stop Now” (1990) by the group “The Cover Girls” to the music of V. Reznikov took 2nd place in the dance music chart Hot Dance Music magazine Billboard.
• 2012: At the television festival “Song of the Year 2012” Award "For contribution to the development of music" was posthumously awarded to Viktor Reznikov. It was received by the composer’s son, Andrei Reznikov.

Memory

• After Victor’s death, his wife Lyudmila Kolchugina-Reznikova, together with the composer’s friends, organized Victor Reznikov Foundation and headed it. The foundation has a Children's Musical Theater named after Viktor Reznikov. Twice a year, the children's musical theater holds memorial concerts dedicated to the composer's birthday and death. Theater address: St. Petersburg, Stachek Avenue, building 105.
• In April 1992, in St. Petersburg, at the Oktyabrsky Concert Hall, Evening in memory of V. Reznikov with the participation of popular Russian pop artists.
• In February 1994, a football match was held in St. Petersburg with the participation of the Russian pop star team “Starko”, dedicated to the memory of V. Reznikov.
• In the 90s, St. Petersburg hosted International Competition for Young Composers named after. V. Reznikova.
• In 1997, a book of memoirs by L. E. Reznikova was published. “Where are you, my son, where are you?” (St. Petersburg. Publishing house "Corvus"). Also, L. E. Reznikova wrote a song dedicated to the memory of her son.

• Several songs are dedicated to the memory of Viktor Reznikov:
  • Alexander Rosenbaum wrote and dedicated a song to him during the composer’s lifetime “Listen, old man (to Reznikov)”. Entitled “Stander (Dedicated to Viktor Reznikov)” it was included in the singer's album "Nostalgia" (1994).
  • In 1992, Yuri Loza wrote a song "In memory of Viktor Reznikov", which was later included in the singer’s album "Reserved places" (2000).
  • Vyacheslav Malezhik (based on poems by Vladimir Khaletsky) wrote a song “In this old house... (In memory of V. Reznikov)”, included in his album "Guitar songs" (1998).
  • “Requiem (In Memory of Viktor Reznikov)”, written by Viktor Maltsev, included in the solo album of Mikhail Boyarsky "Count Lane" (2003).
• On January 28, 2011, the release of the music program DOSTOVIE RESPUBLIC (Channel One) was dedicated to the work of Viktor Reznikov.
• On October 15, 2011, the first Children's Football Tournament named after. Viktor Reznikov among the football teams of students in grades 3-5 in the Primorsky district of St. Petersburg.

Soviet composer V.M. Reznikov was born on May 9, 1952 in Leningrad. He became interested in music early, but he was even more interested in physical education. Therefore, after graduating from high school, Victor entered the Leningrad State Pedagogical Institute named after. Herzen to the Faculty of Physical Education, which he graduated in 1975. At the same time, he participated in the amateur performances of the Palace of Culture of Education Workers, and attended a seminar of amateur composers at the Leningrad branch of the Union of Composers.

Victor never received a musical education, but was fluent in the synthesizer and computer music programs, which provided his songs with a special sound. He was one of the first in the USSR to start creating music on a computer. Then in the USSR, with the help of computers, along with V. Reznikov, only the Forum ensemble (director A. Morozov) made music.

He begins writing songs in the mid-1970s. V. Reznikov's songs were performed by the vocal and instrumental ensemble "From Heart to Heart", the most famous of them is "Jog". In 1976, the young composer gained fame with the song “Fly Away, Cloud,” performed by Alla Pugacheva. At the end of the 1970s, the first flexible gramophone record was released with songs based on the poems of Yu. Bodrov, I. Reznik, N. Zinoviev, as well as his own. Tõnis Mägi, VIA "Jazz-comfort", Jaak Joala, VIA "Radar", Alla Pugacheva participated in the recording.

In 1978, the self-taught composer began working at Lenconcert. Since that time, the popularity of Viktor Reznikov has increased sharply. His songs are heard everywhere, they are loved and popular. Several of the composer's new songs were performed by Alla Pugacheva, and Jaak Joala developed his success with a series of songs - “What a pity,” “I had a dream,” “Summer without you,” “No problem,” “Confession” (1979).

In the mid-1980s, V. Reznikov met Larisa Dolina. For her, he wrote the songs “Ice”, “Half”, “Trainee Katya” (lyrics by V. Reznikov and A. Rimitsan) and others. Along with Larisa Dolina, the composer works with Mikhail Boyarsky. The songs “Everything seems to be nothing” (lyrics by V. Reznikov), “House of Cards” (lyrics by L. Vinogradov), “My Yard” (lyrics by V. Reznikov and Yu. Bodrov), “Night - Away” appeared, “ Thank you, dear". Songs by Viktor Reznikov were performed by Alla Pugacheva ("Phone Book", "Paper Kite"), Valery Leontyev ("Hang Glider"); Vladimir Presnyakov ("Touchy"); Anne Veski ("The Old Photographer"); Tõnis Mägi (“I can’t dance”, “Tandem”); Ivo Linna ("Changing", with Tõnis Mägi), Gintare Jautakaite ("Confession", "Fate"), Laima Vaikule (duet with V. Reznikov, song "Bird of Passage"), beat quartet "Secret" ("Don't Forget ", "How are you, old man", "I give, give", "Just don't touch the guitar"), as well as Irina Ponarovskaya, the ensemble "Pesnyary", Sofia Rotaru, Marylya Rodovich, Maryana Ganicheva, the group "Telescope" and others.

In the mid-1980s, Viktor Reznikov and Mikhail Boyarsky, together with their sons Andrei Reznikov and Sergei Boyarsky, created a musical quartet. In 1986, this quartet achieved success with the song “Dinosaurs” (lyrics by A. Rimitsan). Then “Night, Away” appears (lyrics by A. Rimitsan). These songs were recorded with the rock group "Marathon", led by V. Reznikov.

In 1986, V. Reznikov left Lenconcert. In 1988, he became the artistic director of the creative and production association "Record", and in 1991 - the organizer of the Soviet-American group "SUS".

Viktor Reznikov is the author of the music for the two-part musical film “How to Become a Star”. This film (directed by Vitaly Aksenov), released at the Lenfilm studio in 1989 in the form of a musical and humorous show with the participation of Soviet pop stars, popular before "the rampant democracy", the authors called it "a pop guide for aspiring famous artists." songs performed in the film by Valery Leontiev, Maxim Leonidov, Tõnis Mägi, the groups "Secret" and "Marathon".

V.M. Reznikov is a laureate of the All-Union television song competitions "Song of the Year" in 1981, 1983, 1986-1990, and a laureate of the festival "Young Composers of Leningrad". In 1988, he appeared on television in the program “Musical Ring”, competing with the Leningrad composer Igor Kornelyuk (the latter won). At the end of 1988, he wrote the song “Brownie” based on his poems. It was performed by the quartet of Sergei and Mikhail Boyarsky, Andrei and Viktor Reznikov and the Marathon group. Unexpectedly, Billboard in the USA became interested in this song. American producers promoted it to such an extent that in May 1989 it entered the Billboard Chart at number 5 in the world, where it remained for 17 months. This was an unprecedented case for the Soviet stage and Soviet show business (then there was no such thing in the USSR). After this, the text was translated into English. This song in English (“Don’t Stop”, Don’t Stop Now, 1991) was sung by Rick Astley and the then very young Kylie Minogue.

The life of composer Viktor Reznikov was interrupted absurdly and unexpectedly. In February 1992, in St. Petersburg, while driving a car out of the yard of his house, his car collided with another car. For some time, Reznikov was alive, lay in the hospital and asked Mikhail Boyarsky to continue singing his songs so that they would not be forgotten. So, for example, the song “Thank you, dear” (lyrics by V. Reznikov and A. Rimitsan), performed by the author, received a second life.

The doctors' efforts were in vain. Popular composer and songwriter Viktor Reznikov died on February 25, 1992, at the height of his talent and at the peak of his popularity, just short of his 40th birthday. V.M. was buried. Reznikov at the Komarovskoye cemetery near St. Petersburg.

In 1992, after the death of the composer, the Victor Reznikov Foundation was created, among the founders of which are famous artists, composers, poets - Vladislav Uspensky, Valery Sevastyanov, Alexey Rimitsan, Larisa Dolina, Mikhail Boyarsky, Yuri Davydov and others. In May 1992, the Children's Musical Theater named after. V. Reznikova. The Victor Reznikov Foundation, as well as the Children's Theater named after him, were headed by the composer's widow, Lyudmila Aleksandrovna Kolchugina-Reznikova.

Viktor Reznikov wrote about a hundred songs (both music and lyrics), which were included in the repertoire of many pop singers and are still performed. He was young, successful, talented and very popular: his songs were then performed by our pop superstars... He was a man of unusual destiny, a far from ordinary personality, endowed with talent and excellent human qualities. His music has always been distinguished by non-standard harmonic solutions and, most importantly, by a rich melody with a wide range. He had the skill to create a hit that the whole country sang and at the same time remain a Musician and not slide into primitivism! But the main thing in his work was not technical innovations, but a recognizable lyrical composer's style, which ensured his songs a long stage life. Nowadays there are practically no such magnificent melodists left...

Name: Victor Reznikov

Age: 39 years

Place of Birth: Saint Petersburg

A place of death: Saint Petersburg

Activity: composer-songwriter, lyricist

Family status: was married

Victor Reznikov - biography

Viktor Reznikov's songs were sung by Alla Pugacheva, Larisa Dolina, Valery Leontyev and even Kylie Minogue. He was ready to conquer the whole world, but his life was absurdly and unexpectedly cut short...

The popular Soviet composer was born in the city on the Neva on Victory Day - May 9, 1952. His parents had nothing to do with pop music. Mom is a pediatrician, and dad is an aviation engineer who served in the Far East. From whom the boy inherited a rare musical gift is a mystery.

Vitya grew up as a weak child and was often sick. The early divorce of his parents also affected his general health. But the boy did not like to complain about his illnesses. He was cheerful, sociable, and when asked: “How are you?” invariably answered: “Everything is fine, everything is great!” Later, this childish light of joy illuminated his songs.

To improve her son’s health, his mother enrolled him in sports. Young Reznikov played excellent football and basketball, swam, did gymnastics and chess. No one had any doubt that he would choose a career as a sports coach.

It's hard to believe, but Reznikov never received a musical education. Even before school, his mother decided to send him to study violin, but Viti only lasted three months. This activity was so painful for the child that he even fell ill. Victor made his second attempt to study musical literacy after finishing the tenth grade. The choice fell on a jazz school, then on a conservatory. And again a complete failure!

Probably, Reznikov’s brilliant melodies would never have been born if not for the synthesizer and computer. Complex electronic technology, alien to many USSR musicians, suddenly conquered Reznikov. The modest composer from Leningrad became one of the most progressive musicians in the Union, twenty years ahead of his time. Then only the Forum group, in which Viktor Saltykov (ex-husband of Irina Saltykova) began his career, could compete with him.

Reznikov even invented his own system for notating notes. Of course, only he himself could make out the “cunning scribbles” of the genius composer. But what did it matter if the whole country was ready to sing his songs?

Reznikov’s musical biography began with imitation of the melodies of the Beatles. In 1970, the young author had his first own song - “Tramp April”. When the number of songs created exceeded a dozen, his mother arranged a meeting with People’s Artist of the Russian Federation, composer Isaac Schwartz. The master praised the young man, noting his “natural sense of harmony.”

Inspired, Victor sent his recordings to Edita Piekha herself, but the singer was not impressed by them. But two of Reznikov’s songs - “Summer without you is like winter...” and “Remember, it’s not a problem...” - he began to sing. The first step towards all-Union glory was taken.

Song collaboration with the main musketeer of the country grew into a long and strong friendship. “Vitya, you are a god, and you don’t understand this yourself!” - the actor liked to repeat. In the mid-1980s, friends and colleagues even created a “family quartet.” The children's comic song “Dinosaurs” was sung along with them by their sons, Andrei and Sergei. Both the composition itself and the video for it (with computer special effects!) were a stunning success in the USSR.

One day Victor learned that Alla Pugacheva had come to Leningrad on tour. Without thinking for a long time, he grabbed his creations and rushed to her hotel. “How should I introduce you?” - the concierge asked him. “Reznikov...” the confused musician squeezed out. And a minute later I heard: “Get up, Pugacheva is waiting for you!”

It turned out that the talented Leningrader was simply lucky with his last name: Alla Borisovna decided that her friend Ilya Reznik had come to her. This mistake made the singer laugh, and she invited the guest to sit at the piano. His mother was the first to learn the amazing outcome of that evening. “Alla took four songs from me!” - Reznikov shouted into the phone. “Who else is Alla?” - Liliya Efimovna was surprised. “Pugacheva, of course!”

“Fly Away, Cloud” and “Confession” appeared in the prima donna’s repertoire in 1980, and “Paper Kite” and “Phone Book” - in 1983 and 1984. Collaboration with Pugacheva made Reznikov truly famous. His songs began to be performed by Irina Otieva, Vladimir Presnyakov, Irina Ponarovskaya, Sofia Rotaru, VIA "Pesnyary", Anne Veski, Laima Vaikule, Tõnis Mägi and Jaak Joala. The Union was conquered, the time of the West had come.

At the end of the 1980s, the incredible happened: the Soviet hit “Domovaya” entered the Billboard chart, an authoritative US music publication. And the creator of this masterpiece was none other than Viktor Reznikov. The song stayed at the top of the chart for 17 months, after which it was translated into English. The first song “Don't stop now” was performed by The Cover Girls, and a short time later by Australian pop star Kylie Minogue.

In the wake of perestroika, a project to unite American and Russian composers matured. A delegation of almost two dozen people was formed. Among others, Viktor Reznikov was accompanied by Vladimir Matetsky, Igor Nikolaev and Oleg Gazmanov. During the same period, realizing the need for growth, the musician resigned from Lenconcert and became a member of the Union of Composers and the Union of Playwrights.

In 1991, Victor went on a business trip to the USA. Returning home, he introduced the first international group to the new Russia. It was named SUS - from the addition of the initial and final letters of the two countries, Soviet Union and United States. The guitarists of the new project are Dan Merrill and Vladimir Gustov, the keyboard player is Stephen Bute, the drummer is Dmitry Evdomakha, and the vocalist is Reznikov himself. The group's first album was recorded in August of the same year in Victor's hometown. But it didn’t have time to appear on store shelves...

Victor Reznikov: Death at the height of glory!

At the end of the winter of 1992, a Zhiguli driven by Reznikov was rammed by a Volga at full speed. The main force of the blow fell on the musician. Victor's mother and daughter witnessed the terrible accident. The girl remained unharmed only by a miracle: she was sitting in the car next to her father. The mother watched the tragedy in horror, standing at the entrance of her house...

For two days, doctors at the St. Petersburg Military Medical Academy fought for Reznikov’s life. He underwent two complex operations and was preparing for a third, but the musician’s heart could not stand it... On February 25, Victor passed away. He did not live to see his fortieth birthday only three months.

In memory of himself, Reznikov left about a hundred hits. Among them are “A piece of ice, soon May” and “Finding a soul mate is happiness” by Larisa Dolina; “My favorite courtyard” and “Thank you for the day, thank you for the night” by Mikhail Boyarsky; “An old photographer, a creaking tripod” by Anne Veski, “Touchy one, why are you looking so sternly?” Vladimir Presnyakov Jr.

Viktor Reznikov's life's work - the development of Russian musical culture - was continued by his loved ones. They founded a foundation in his name and opened Record radio. This music business is still a family affair: the head of the company is Lyudmila Reznikova, the composer’s widow; Marketing Director - his daughter Anna; general producer - son Andrey. Reznikov Jr. continues his father’s work: in 2015, at the New Wave festival, Philip Kirkorov performed his song “Passersby.”

Radio Record has been broadcasting for more than twenty years and is listened to in 25 cities of Russia. Dance festivals are held annually under its auspices. A whole kingdom of music that would probably have pleased Viktor Reznikov, the king of light melodies.

His mother Liliya Efimovna Reznikova worked as a pediatrician, then retrained as a psychiatrist. Father Mikhail Yakovlevich Reznikov graduated from the Air Force Academy and served as an engineer in the Far East in aviation units. His parents divorced early, but always maintained good relations.

As a child, Victor was a very sickly, but cheerful and sociable child, he easily found a common language with people. He was a good storyteller and inventor, and his mother Lilia Efimova said: “In any difficult life situation, he said “everything is fine, everything is fine.” It seems to me that take any of his songs - these words are there. Not literally, of course, but feeling."

When Victor was very young, while walking with his mother, a woman from the Lenfilm film studio approached him and said that a Georgian director was looking for a boy to shoot his film. Reznikov, indeed, looked like a Georgian or Italian child, and after this meeting he starred in a small role in the film "Mother's Heart."

Reznikov played basketball, chess and swimming as a child, but his passion for sports quickly ended. His mother said: “This man was not allowed to do what his body did not accept.” But it is known that Victor loved to play football in the yard when he and his mother lived on Vladimirsky Prospekt.

Reznikov had no musical education. His mother took him to music school when Victor was six years old, and there Victor studied violin for three months. During the audition, the examination commission noted that the boy had above average abilities, however, due to Victor’s reluctance to study, problems arose, and after three months of training, his mother took him away from the music school. This was the end of his musical education.

After graduating from school, Victor entered the Shipbuilding Institute, but did not graduate, and entered the Herzen Pedagogical Institute at the Faculty of Physical Education, from which he graduated in 1975. At the same time, he participated in amateur performances at the Palace of Culture for educators, attended a seminar of amateur composers at the Leningrad branch of the Union of Composers, and loved listening to the Beatles and tried to repeat their songs on the piano. But he wasn’t very good at it, and his mother said that for a long time it was basically a set of sounds, which gradually began to turn into beautiful melodies. At the same time, Reznikov developed his own system of recording notes, but no one except himself could understand these notes.

He wanted to show the melodies that Victor came up with to some composer, and Reznikov met with Isaac Iosifovich Schwartz. After this meeting, Schwartz told Victor’s mother: “I must tell you that your son is very talented. The most valuable thing is that he has an innate sense of harmony, which is not common. He needs to learn.” And Reznikov tried to get into a jazz school and a conservatory. But these attempts never ended in success. Mom asked Victor how he writes songs. He said: “Songs do not arise out of nothing. I always go from the melody. First, a musical idea arises, which constantly sounds in you. In parallel with this, visual images appear, thoughts arise that begin to be embodied in poetic lines.”

When creating songs, Victor often asked his mother’s opinion. For example, when creating a song about a kite, Victor selected a word that could connect the kite with a person. I asked my mother, she began to look for words - rope, twine, etc. Then he decided that it was better to use a thread - it was thin and could break at any moment. About “The Yard,” Victor argued with the poet about which was better: “my beloved yard” or “my little yard.” They called my mother and asked which way she liked best, but they didn’t say which version was whose. Mom decided to please the poet and said “darling.” And this option turned out to be Victor. As a result, the song was left with two options. One in the verse, one in the chorus.

The songs had to be offered to the performers, and Victor handed over the cassette with the recordings to Edita Piekha, but she did not perform them. Reznikov managed to meet Boyarsky, catching him after the concert, and the unexpected happened - Boyarsky really liked the songs “It’s not a problem” and “Summer without you.” Later, Victor found out where Pugacheva was staying when she had concerts in Leningrad, and he miraculously got through to her because of the similarity of his last name and the last name of Ilya Reznik. Victor got into Alla Pugacheva’s room and she selected four of his songs.

Later, Reznikova was invited to write music for the film “Carnival” by Tatyana Lioznova, but Dunaevsky’s music was featured in the final version of the film. But Victor still managed to work on the music for the film “How to Become a Star,” directed by Vitaly Aksenov, which was released at the Lenfilm film studio in 1989 in the form of a musical and humorous show with the participation of Soviet pop stars. The tape was a non-stop fireworks display of pop numbers, and the authors called it a “Pop Guide for Aspiring Famous Artists.” Reznikov wrote all the music for this film, including songs performed in the film by Valery Leontyev, Maxim Leonidov, Tõnis Mägi, the groups "Secret" and "Marathon". In this film, he himself sang the song “Jog.”

Victor actively used a synthesizer and computer music programs, which provided his songs with a special sound. He was one of the first in the USSR to create music using a computer. At that time in the USSR, along with Reznikov, only the Forum ensemble made music using computers.

Reznikov's songs were performed by the vocal and instrumental ensemble "From Heart to Heart", and the most famous of Reznikov's songs performed by this group was the song "Jog". And in 1976, the young composer gained fame thanks to the song “Fly Away, Cloud,” performed by Alla Pugacheva.

At the end of the 1970s, the first flexible gramophone record was released with songs based on poems by Yu. Bodrov, I. Reznik and N. Zinoviev. Tõnis Mägi, VIA "Jazz-comfort", Jaak Joala, VIA "Radar" and Alla Pugacheva participated in its recording.

In 1978, Reznikov began working at Lenconcert, and since that time his popularity has increased sharply. His songs sounded everywhere, were loved and popular. After Alla Pugacheva performed several of the composer’s songs, the success of Reznikov’s works was developed by Jaak Joala with a series of songs “What a pity,” “I had a dream,” “Summer without you,” “It’s not a problem,” and “Confession.”

In the mid-1980s, Reznikov met Larisa Dolina. For her, he wrote the songs “Ice”, “Half”, “Trainee Katya” and other works. Along with Larisa Dolina, the composer worked with Mikhail Boyarsky, and thanks to their creative union, the songs “It seems like nothing”, “House of Cards”, “My Yard”, “Night - Away” and “Thank you, dear” appeared.

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Victor Reznikov's songs have been performed by many famous performers. Alla Pugacheva performed the songs “Phone Book” and “Paper Kite”, Vladimir Presnyakov performed the song “Touchy”, Anne Veski performed the song “Old Photographer”, Tõnis Mägi performed the songs “I Can’t Dance” and “Tandem”, Gintare Jautakaite performed the songs “Recognition” and “Fate”, Laima Vaikule in a duet with Viktor Reznikov himself performed the song “Bird of Migratory”, the beat quartet “Secret” performed the songs “Don’t Forget”, “How are you, old man”, “I give, I give”, “ Just don't touch the guitar." Also, Victor Reznikov's songs were performed by Irina Ponarovskaya, the Pesnyary ensemble, Sofia Rotaru, Marylya Rodovich, Maryana Ganicheva, the Telescope group and other performers.

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In the mid-1980s, Viktor Reznikov and Mikhail Boyarsky, together with their sons Andrei Reznikov and Sergei Boyarsky, created a musical quartet.

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In 1986, this quartet achieved all-Union success after performing the song “Dinosaurs”. Then the song “Night, Away” appeared. These songs were recorded with the rock group "Marathon", whose leader was Reznikov himself.

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The composer's son, Andrei Reznikov, said: “Dinosaurs, maybe you are hiding in Africa. And you chew baobabs for breakfast...” This is a joke song. I have no idea how it came to be. Dad wrote it for little children. I know that I was forced to sing it at an unconscious age, although I did not possess any vocal abilities. It just happens that children are at hand. We even had a video shot for “Morning Mail” with computer special effects, where I was a bully and Seryozha Boyarsky was a good boy. Which, in general, reflected reality."

In 1986, Reznikov left Lenconcert, and in 1988 he became artistic director of the creative and production association Record. Reznikov and his team helped young talents, organized creative festivals, and was admitted to the Union of Playwrights and the Union of Composers. At the Union of Composers, he conceived a project for a meeting with American composers, “Song Unites People,” to which 17 Russian composers were invited, including Matetsky, Nikolaev, Gazmanov and Reznikov himself.

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Viktor Reznikov is a laureate of the All-Union television song competitions "Song of the Year" in 1981, 1983, 1986-1990, and a laureate of the festival "Young Composers of Leningrad". In 1988, he appeared on television in the “Musical Ring” program, where he competed with the Leningrad composer Igor Kornelyuk. At the end of 1988, Reznikov wrote the song “Brownie” based on his poems. It was performed by the quartet of Sergei and Mikhail Boyarsky, Andrei and Viktor Reznikov together with the Marathon group. Unexpectedly, Billboard in the USA became interested in this song. American producers promoted it to such an extent that in May 1989 it entered the Billboard Chart at number 5 in the world, where it remained for 17 months. This was an unprecedented case for the Soviet stage. Viktor Reznikov said: “The guys called me and said, we just arrived from Cannes, took “Billboard”, and there was your song. I didn’t believe it, I think they were playing a prank, I came to Moscow, I said, show me. I look, it’s really in 27th place for 26th, January issue, and a week later she was in 20th place. They started calling America urgently, and they said she was already in 11th place. I think, God, why didn’t she get into the final of “Song 90”, this is “Brownie.” , with English text only."

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When the lyrics of the song were translated into English, it (“Don’t Stop Now”, 1991) was sung by Rick Astley and the then very young Kylie Minogue.

In 1991, Reznikov organized the group "SUS". This happened when Victor met two Americans and played “Brownie” and “What a Pity” for them. Then he went to America and there these Americans introduced him to the musician Daniel Mariel. As a result, the Soviet-American group SUS was created (the first two letters (SU) are the Soviet Union, the second two (US) are the United States). 7 phonograms were recorded in English: “Native”, “Confession”, “Lost Time”, “True Believer”, “Stop”, “One Night” and “New Try”.

On February 23, 1992, Viktor Reznikov drove his Zhiguli car to take his daughter Anya to her mother, Liliya Efimovna. He was already approaching his mother’s house and began to turn around when a Volga car suddenly jumped out onto the road and rammed Victor’s car at full speed. The impact fell on the driver's side. The daughter was not injured in the accident. The accident occurred in front of the composer’s mother, Liliya Efimovna Reznikova, who went outside to meet him. The composer spent some time in the Military Medical Academy of St. Petersburg, but all the doctors’ efforts were in vain. Viktor Reznikov died on February 25, 1992, at the height of his talent and at the peak of his popularity, just short of his 40th birthday.

Viktor Reznikov was buried at the Komarovskoye cemetery near St. Petersburg.

In 1992, after the death of the composer, the Victor Reznikov Foundation was created, among the founders of which were famous artists, composers and poets - Vladislav Uspensky, Valery Sevastyanov, Alexey Rimitsan, Larisa Dolina, Mikhail Boyarsky, Yuri Davydov and other famous musicians. In May 1992, the Reznikov Children's Musical Theater was created in St. Petersburg. The Victor Reznikov Foundation, as well as the Children's Theater named after him, were headed by the composer's widow, Lyudmila Aleksandrovna Kolchugina-Reznikova.

Viktor Reznikov wrote about a hundred songs (both music and lyrics), which were included in the repertoire of many pop singers and are still performed. He was a man of unusual destiny, a far from ordinary personality, endowed with talent and excellent human qualities.

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A television program was filmed about Viktor Reznikov in 1993.

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"Songs from Movies":

"How to become a star"

Don't forget (A. Voznesensky) M. Leonidov
How are you, old man? (V. Reznikov, M. Leonidov) Group "Secret"
I give, I give! (A. Rimitsan) Group "Secret"
I change (A. Voznesensky) I. Linna, T. Myagi
Recognition (V. Reznikov) M. Ganichev
I live (V. Reznikov, A. Rimitsan) V. Leontyev
Sonnet No. 65 (W. Shakespeare, translation by S. Marshak) V. Leontiev
Bioclocks (A. Rimitsan) V. Leontyev
House of Cards (L. Vinogradova) V. Leontiev
Jog (V. Reznikov) V. Reznikov

"House of cards"

Ice (V. Reznikov) L. Dolina
Intern Katya (V. Reznikov, A. Rimitsan) L. Dolina
Half (V. Reznikov, A. Rimitsan) L. Dolina
Phone book (V. Reznikov) L. Dolina
Hang glider (A. Rimitsan) L. Dolina
Touchy (V. Reznikov) V. Reznikov
Dinosaurs (A. Rimitsan) S. and M. Boyarsky, A. and V. Reznikov
Everything seems fine (V. Reznikov) M. Boyarsky
House of Cards (L. Vinogradova) M. Boyarsky
Yard (V. Reznikov, Yu. Bodrov) M. Boyarsky

"Give me your hand and goodbye"

Confession (V. Reznikov) to Gintara
Brownie (A. Rimitsan) S. and M. Boyarsky, A. and V. Reznikov
Julia (V. Reznikov) V. Reznikov
Migratory bird (V. Reznikov) L. Vaikule
Old photographer (V. Reznikov) V. Reznikov
Light (A. Rimitsan) V. Reznikov
Fly away, cloud (V. Reznikov) A. Pugacheva
You freeze on the threshold (L. Vinogradova) M. Kapuro and V. Reznikov
House of Cards (V. Reznikov) V. Reznikov
Night, away (A. Rimitsan) S. and M. Boyarsky, A. and V. Reznikov
Thank you, dear (V. Reznikov) V. Reznikov

This photo is many years old... Victor was beaming at the concert. He's the one running backstage. Of course, the picture is very blurry... And this is a given of that time, like the uniqueness of the moment.

Text prepared by Andrey Goncharov

Used materials:

Book by L.E. Reznikova “Where are you, my son, where are you?”
Wikipedia site materials
Interview with A.V. Reznikov