Moscow state Museum of S. A. Esenin, Mikhail Bulgakov Museum, the House-Museum of A. N. Scriabin State Museum of V. V. Mayakovsky and Museum of K. G. Paustovsky, tell me what gave your friends their characters and what gifts have you received from them.
Joint material mos.ru and the Agency “Moscow.
the Bulgakov house was always crowded — the writer loved the noisy feast, and every day was hosted by friends. Gradually Bulgakov tired of big companies, and among its regular guests were only a few people. One of them was the conductor of the Bolshoi theatre Alexander Melik-Pashaev.
Alexander Shamilyevich Bulgakov met 17 October 1935 for the Opera “Faust”, and soon Melik-Pashayev was already a good friend of the writer. Together they loved to play Billiards, to look into the kebab, and the house is Bulgakov staged merry feast, which was not without jokes and parodies. One of these parties says the writer Sergei Yermolinsky’s book, “Notes on M. Bulgakov”
At one of these dinners in November 1935 Bulgakov gave Melik-Pashayev music publishing of “the Nutcracker” ballet by Peter Tchaikovsky, arranged for execution in four hands on the piano. The notes were printed in 1893 in Moscow music publishing house of Peter Jurgenson, printer and a great friend of Tchaikovsky. The title of the ballet (Casse-Noisette), as well as all information, including output in French.
However, interesting is not it, and the inscription, or rather two. In the upper part neat handwriting was written: “to My dear and cute schoolgirl Lucy Janowska on a good memory from her music teacher E. V. Ipatava. 20 Feb 1922”. The inscription is crossed with two crosses, and lower on the bias and finished with a flourish by the hand of the writer: “the Inscription is cancelled. Shamilyevich Alexander Melik-Pashayev Mikhail Bulgakov 10.XI.1935, Moscow”. Must be the giver, and the recipient was pleased with the story and had fun laughing at this oxymoron — a dry office in a friendly note.
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Hungarian artist lászló Moholy-Nagy is one of the most famous figures in design and architecture of the twentieth century. He was interested in communication design and has created projects that embody the ideas of constructivism. Moholy-Nagy was seriously engaged in photography and was among the first who discovered the photogram is a photochemical method of producing images without using a camera. He taught art processing of metal and color theory in the legendary Weimar school, the Bauhaus, and after it was closed came to power Hitler, emigrated from Germany. In 1937, he moved to the United States, where he headed the “newth Bauhaus” School of design in Chicago.
And the constructivists Moholy-Nagy was a good friend of Vladimir Mayakovsky.
they First met in the spring of 1924 during a trip Mayakovsky in Berlin. They became close friends — acquaintance was very short, but between them there was a mutual sympathy based on common interests and views on contemporary art. In Berlin, Moholy-Nagy did a photo portrait of Mayakovsky and gave the poet five of his photographic works-experiments. On the back of one of them, “Swan” is an inscription in French, the name of the donor written in accordance with the rules of his native Hungarian language: Majakowski à avec admiration Moholy-Nagy (“Mayakovsky with admiration Moholy-Nagy”).
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the Piano became the first instrument of Alexander Scriabin, the musician gave his friend, the art patron Mitrofan Belyayev. They met in February 1894 when Mitrofan Petrovich was almost 60 years old, and Alexander are under 25. Belyaev, who started as a timber merchant, he has gained fame a major music publisher, founder of the prize named after Mikhail Glinka and the status of a major music patrons of the Silver age. Scriabin also at that time was a little-known composer and pianist, gave his first recital at the Small hall of the Saint Petersburg Conservatory.
a couple of years after the first meeting, in 1896, Scriabin and Belyaev came to you and became close friends. Mitrofan Petrovich took care about the financial situation other: paid monthly Scriabin pension, published his new works and staged concerts, was awarded the prize of a name of Glinka on behalf of “the unknown music of a well-wisher”. At the same time, Belyayev was very demanding and was trying to develop a dreamy Scriabin quality of the business.
In his letters Mitrofan Petrovich often criticized the composer for complacency and distraction. For example, such bolognino first letter he sent to him on 30 April 1897:
to Re-Scriabin Belyaev and failed, but their warm friendship lasted until the death of Mitrofan Petrovich.
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In late 1918, in Moscow there appeared a new trend in poetry — imagism, the inspiration of which, in addition to Sergei Yesenin, his friends became Anatoly Mariengof, Vadim Shershenevich and Alexander Kusikov. Four poets quickly became famous not only for its Avangard��mi works, but with many tricks.
After the publication in 1919 of the controversial Declaration, which announced the death of futurism, the young people decided to perpetuate itself not only in art. In 1921, they realized that they did for literature enough to have in life, outside of his name in the capital. Without waiting for favors from the government, they have made signs, put in backpacks and went to nail them to the houses.
while friends are often seen as a four rather than separately. The young poet, experiencing periodic difficulties with housing, they huddled each other, taking up a “living space” even bathrooms. To improve the financial situation in September 1919, the poets opened the literary cafe “Pegasus Stall”, where he performed in front of an audience. Among the verses that they read was the dedication to each other. Yesenin dedicated Mariengof poem “I am the last poet of the village…”, the poem “Pugachev” and “Prayers”, the essay “Maria’s Keys”, and he had received a poem “to Sergey Esenin” from Shershenevich and “Curls day. — Are you in the faces of town guest…” from Kusikova.
Marienhof
I am the last poet of the village,
Modest songs boardwalk bridge.
During a farewell stand impoverish
kadja leafy birches.
Golden flame will burn down
From the solid wax candle,
And the moon clock wood
Prohripyat my twelfth hour.
On the trail of blue field
coming Soon iron the guest.
oat Grass, dawn of the shed,
it will Gather a handful of black.
Not living someone else’s hands,
These songs do not live with you!
Only the stalks are-horses
On the old host to grieve.
Will the wind to suck their neighing,
coping Requiem dance.
soon, Soon clock wood
Prohripyat my twelfth hour!
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With assistant and Muse of French artist Henri Matisse, Lydia Delektorskaya writer met in France in 1956, during his first trip abroad. Once in Paris, Konstantin Georgievich, along with his friends Daniel by Granini and Leonid Rahmanov went to the Louvre. It was there that he saw Delektorskaya — the writer was in tears before “Giocondo”. People were talking, and Lydia Nikolaevna has invited the whole company to visit.
After the Parisian experience, they parted as friends — Delektorskaya and Paustovsky was texting all my life. Lidia was a good translator, and through her work prose Paustovsky got a big success in France. She offered to major French publishing house, producing works of Konstantin Georgievich, the idea free to send them in all public libraries of the suburbs of Paris.
Delektorskaya was sent from France books, reviews and articles on works by Paustovsky, not R��s to get for his asthma, which long time was ill writer. Inhaler sent Delektorskaya from France, is still kept in the Museum Paustovsky.
Among the things that Delektorskaya was sent for the writer, there were posters, books and postcards. She, knowing about the passion of each photo, gave Paustovsky English camera with manual rewind and a built-in flash. It was the last camera, which was used by Paustovsky.
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