Biography of Schwartz Isaac

He was buried on the literary bridges of the Volkovsky cemetery on December 30 in the Jewish rite. And this flying song with its sad tenderness and shaky irony, a simple dictionary and some elusive subtlety could become an epigraph to the life and work of the musician and composer Isaac Schwartz. Nevertheless, other poems became generally accepted to talk about Schwartz. They were dedicated to Schwartz Okudzhava, a close friend and co -author: “The musician played the violin - I looked into his eyes.

I’m not so curious - I flew across the sky. ” Meanwhile, Isaac Iosifovich Schwartz did not play the violin at all. But the other in these verses is very accurate. Everyone in the sky flew to Schwartsevo music. Schwartz and lived, as he flew. He was loved by the public and friends, he was in demand, an extraordinary talent and taste, an impeccable sense of text, a frame, and the intonation did not change him.

From posts, authorities and statuses kept at a distance. Even geographically - settled at a distance. They say that he was called the “Siveric Hermit” - from x to the last day he lived at the Siverskaya station near Gatchina. But if it was partly a hermit, then not a recluse. About his acute mind, dental humor, charm, subtleties, simplicity in communication and some difficult to captured, but clearly sensible nobility, everyone who intersected him is said.

His music is not only theatrical or cinematic films of Schwartz more than a hundred, but also symphonic and ballet - comfortably and easily located on a complex line between simplicity and hill, between everyday life and piercing nobility. Even the two most famous, iconic cinemas, composed on the texts of Okudzhava - “Cavaliergard Song” from the “Star of captivating happiness” and “Your Belorianity” from the “White Sun of the Desert” - amazing about the same thing.

About the simplicity of life and aristocratism of the spirit. And in this sense, between Sukhov and Pestan as well as a man in a ruff, in essence, there is no difference. The outlines of the biography of Isaac Iosifovich Schwartz are recognizable in the generation. His grandfather-toe and grandmother moved from the Baltic states to Ukraine. Filologist's father transported a family from the city of Romna, where his son was born, to Leningrad.

There, in M, he was arrested and two years later, already in the camps, shot. Isaac Schwartz and his mother lived in exile for ten years.

They returned to m, and Schwartz, who, even before the tragedy at the summer, played in Leningrad the first concert of Chopin at a concert of young talents, entered the conservatory thanks to Shostakovich’s patronage. The training was paid, but Schwartz unexpectedly freed from the fee. Much later, at the premiere of the ballet “On the eve”, the rector of the conservatory talked to Schwartz that Shostakovich paid for him.

There is another episode in their relationships: Shostakovich captivated Schwartz for the fact that the son of the enemy of the people refused to act with public accusations against Shostakovich: "You have a family, you should not think about yourself, not about me." Actually, the pathos and heroic of Schwartz are not that cornerstone-neither in biography, nor in manners, nor in melodies.

The lyrics and, in particular, the tenderness of simple -hearted, humor, bitterness and a nagging handwriting of simplicity are more important and recognizable. But the finale of the work of Isaac Schwartz is frank and accurate. The premiere of the concert for the Yellow Stars orchestra “Pimimspil in the ghetto” dedicated to Raul Wallenberg and inspired by the story of a woman who survived in the Kaunas ghetto took place in Moscow in the year.

In the music of the concert, Klezmer, Mahler, Shostakovich and Schwartz, as always recognizable and slightly unfamiliar, as if opening his own and our world, his understanding of his foundations, simplicity, and nobility, shine in the music of the concert. Julia Bederova.