Biography. Torba's biography on the coolest most famous song

"Torba-on-Krucha" appeared in Vyatka (Kirov). As a matter of fact, this was the name of Bilbo Baggins’s home in Tolkien’s book, more precisely, in the translation that fell into the hands of the future leader of the future group with this name. And, as the title implies, Tolkien’s magical world is reflected in the style of his early songs.

After graduating from music school and serving in the army, Max resumed his project, and there, in Vyatka, he met guitarist Alexei Pyatkin.

In 1996 Having entered the conservatory in the viola class, Max moved to St. Petersburg. And so, within the walls of this strict and academic educational institution, fate brought together like-minded people who, together with Max, formed a new group, but with the same name. To be more precise, they all met not at the conservatory itself, but in the conservatory dormitory.

The first was Grigory Maliev, Max's roommate. He entered the conservatory to study clarinet, but even in his native Novorossiysk he played bass guitar in his team.

Then Artyom Bespalov appeared in the hostel - a flutist who had come from Saratov, who, due to his youth, had not yet had time to participate in any rock and roll projects, but quickly became inspired by the idea and joined the company simply and harmoniously.

There was a drummer missing. But fate took care of this too: in 1997, Oleg Pozhidaev, an excellent musician, laureate of various and all-Russian competitions, a handsome man and a nobleman in the 58th generation, entered the conservatory. A native of Nalchik, he came to St. Petersburg from Krasnodar, where he also graduated from a music school.

So, on the seven winds, “beyond the boundaries of geography” - the hostel is located on the very shore of the Gulf of Finland, in the far South-West of the city - the first rehearsals began. To begin with, the concept was discussed: a lot of wine was bought and songs were chosen - at that time Max had already “set” more than two hundred of them.

We tried to play at rehearsal spots, even recorded the first “demo” in the Ilyich House of Culture, at the Elektrosila metro station, but it wasn’t the same yet. Max understood that he had to wait. He was waiting for guitarist Lyoshka from Vyatka, who was calmly finishing his KHU (Kirov Art School).

And so summer 1998 Pyatkin brilliantly passes the entrance exams and enters the Institute. Repin to study as a sculptor. And, naturally, he immediately joins the group, having prudently brought his old Ruston from home.

The first St. Petersburg train of “Torba-on-Kruche”, assembled literally from the cities and towns of our vast region, was ready for work. And already in October 1998, the group played its first concert at the Moloko club, and soon after that at the Zoo.

It must be said that with this performance in the Concert Hall of the Leningrad Zoo, a new stage in the history of the group began. The sound engineer of that concert was Sergei Grigoriev, himself an excellent musician, guitarist and arranger. He liked the young team that sounded unusual and unlike others, and “Torbe-on-Kruche” liked the work of Sergei Grigoriev. Although, of course, “Torba” found “its” sound much later.

The good attitude - frankly, love - of all the staff and, especially, the director of the concert hall, Vyacheslav Kovalev, made Torba-na-Kruche actually the house band of the Zoo. By the way,
Max- on viola,
Subject- flute
And Oleg- played percussion more than once in concerts of modern art songs by V. Kovalev and S. Grigoriev,
Where Kovalev is a songwriter
A Grigoriev- their arranger.

“Torba” took root so well at the Zoo that it found not only its favorite concert venue there, but also its director. This was the web-master of the Zoo Concert Hall, Maxim Kolodiy, who, in addition to directorial responsibilities, shouldered the promotion of the group on the Internet.

Meanwhile in November 1998 under the sensitive sound engineering of Sergei Grigoriev, the guys recorded the demo “Live in the Zoo”, and in early December 1998, the same Grigoriev brought the musicians to the Calypso studio, where his old friend Alexey Ageev was then working as a sound engineer. There the first studio pancake, as expected, of the Torba-na-Kruche group was baked. Not everything in that recording turned out the way we would have liked, but with this baggage (3 songs on “Calypso” and 5 or 6 in the Zoo), the band lived right up until 2000, without being able to update the demo material, much less to begin serious studio work on the album. And only in April of this year, in the now completely native Zoo, three new songs were recorded live, and several more are being prepared for recording.

But winter 1999 Grisha Maliev, bassist of “Torba-na-Kruche”, resumed his Novorossiysk project “Experiment for Three”, and gradually moved away from the team. For six months, his place was taken by Dmitry Andreev, who at that time also worked at the Zoo, and also as a sound engineer.

A autumn 1999 There was a change in the composition again, which amazed all the people close to the team with its unexpectedness and, at the same time, regularity. The bassist finally became the same Sergei Grigoriev, who over the year of working together finally became close to the group.

Another significant addition to the team was the appearance of Olga Urvantseva, a photographer for Fuzz magazine, an “athlete, Komsomol member” and generally a good person, who did a lot for the group in terms of promoting the guys’ creativity in the musical society of St. Petersburg. Today Olga has over forty (!!!) photographic films taken from the group’s concerts.

But the replenishment in the ranks of like-minded people did not end there. In the fall of 2000, Denis Repin, a sound engineering student from the University of Cinema and TV, met the group. Ironically, he had previously studied at the same Kirov School of Arts side by side with the leader of “Torba”, but at that time did not yet know Max personally. Winter 2001 Denis, together with his classmate, cameraman Ivan Kotelnikov, are filming the group’s first video for the composition, recorded in January 2001 at the St. Petersburg studio “Dobrolet” by Andrey Alyakrinsky (). The second song, recorded in the same session, is included in Fuzzbox No. 12 (CD application of the music magazine "Fuzz"). While learning the basics of studio musical sound engineering at the St. Petersburg Recording Studio, Denis Repin is simultaneously gaining experience in concert work, practicing at the Polygon club and at the group’s concerts with Timur Galbatsev, the group’s sound engineer, who worked with “Torba” for dozens of concerts.

The group's music is often heard on the waves of St. Petersburg radio stations. The guys took part in television programs more than once (live on “Live Sound” on the NBN TV channel (St. Petersburg), in the “Garkundel” program with (
Performances of the last 2 years:

St. Petersburg clubs:"Concert Hall Leningradsky Zoopark", "Milk", "Polygon", "Hollywood Nites", "Planet-Internet", "City Club", "Faculty", "Ten", "Klim Voroshilov", "Manhattan", "Art -Spirit";

Moscow clubs:"Bunker", "Tabula Rasa", "Art-Garbage", "Vermel", "Dzen";

Festivals:"United Russia" (in the program - "Chaif", "Splin", etc.),
festival in Vyborg,
festival "Nord Session" (Karelia),
festival "Breakthrough" (DS "Yubileiny", with the participation of the group),
St. Petersburg rock festival "Open Windows" (Kirov Stadium),
Rock festival "INVASION" (Moscow, Ramenskoye).

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The founder and author of almost the entire repertoire of the group, guitarist, singer and violist Maxim Ivanov was born on April 5, 1974 in the homeland of Russian romance, in Kirov (Vyatka), into a theater family. After graduating from music school, he entered the school to study viola, at the turn of the 90s he discovered the world of rock and roll, and then Celtic mythology and the cult trilogy of J.R.R. Tolkien about Middle-earth. That’s when “Torba-na-kruche” (translated as “house on the mountain”) was born. Actually, she was born much earlier - that was the name of the home of one of the main characters of this cycle, Bilbo Baggins, in one of the versions of its translation. The poetic and at the same time reliable world of Tolkien’s fantasies fascinates and captivates not only Maxim alone - among the first popularizers of these books are BG, the musicians of “Aquarium” and “Shamrock” - but it is for him that this world becomes the first source of inspiration and is reflected in images and plots of his early songs. Guitarist Stanislav Svintsov becomes IvAnov’s first colleague in the future group.

The group begins its journey in the spring of 1991. One of the first successes of “Torba” was a performance at the festival “Revival of the Motherland of Russian Romance” together with “Wine” and “Peter’s Cross” (October 1991). The group consists of Ivanov, Svintsov (bass), Nikolay Rublev (keyboards), Ilya Kuimov (violin) and Edgar Druganov (from the group “Infarct”, drums). The next notable event in the life of “Torba” is the “Festival of Independent Rock Press”, held by the Moscow magazine “Counterculture” (December 27-30, 1991, House of Culture “Rodina”).

During the same period, Max Ivanov participated in the samizdat magazine “12.13” and collaborated with the groups “Petrov Krest”, “Heart Attack” and “Vino”. The latter, however, soon emigrated from Vyatka to St. Petersburg, where it turned into “Wine”. Home-grown recordings of “Torba” are circulating around the city, but it never comes to full-length albums.

From March 1994 to September 1995, Ivanov served as a musician in the army. Then he rehearses for a year at home with various musicians, including guitarist Alexey Pyatkin (b. 08/05/76 in Kirov), collaborates with the local Rock Laboratory (from which the group “Romislokus” later emerged), after which in 1996 he leaves for St. Petersburg, where enters the Conservatory as a viola student. It is within the walls of this purely academic educational institution, or rather, in its dormitory on the edge of St. Petersburg’s southwest, off the coast of the Gulf of Finland, that the rebirth of “Torba-na-kruche” takes place. The first to be recruited is Maxim’s roommate Grigory Maliev (b. 06/09/78 in Novorossiysk). Although Grisha entered the Conservatory as a clarinet major, in his hometown he played bass guitar in the trio “Experiment for Three.”

Next comes flutist Artyom Bespalov (b. 06/21/77 in Saratov), who, due to his youth, has not yet had time to participate in any rock and roll projects. He quickly warms to the idea and organically joins the company. There is not enough drummer, but fate takes care of this too: a year later Oleg Pozhidaev (b. 03/18/76 in Nalchik) - a handsome man and a nobleman in the 58th generation - enters the Conservatory: he comes to St. Petersburg from Krasnodar, where he also graduated from the music school and has already managed to compete at various competitions and festivals. Rehearsals begin right in the hostel. Somehow, the decision was immediately made that the new group would be called “Torboy-na-kruche”, although the sound of this line-up bears little resemblance to the Vyatka period. By that time, Max had “set up” about two hundred unrealized songs. In the first year of its existence, “Torba” conducts many rehearsals and even records a demo tape at the studio in the Palace of Culture named after. Ilyich at Elektrosila, but her stage debut is postponed - Max is waiting for the arrival of Lyosha Pyatkin, who is graduating from the Kirov Art School. In the summer of 1998, Lyokha moved to St. Petersburg, prudently bringing her old Ruston from home, and successfully passed the entrance exams to the Institute. Repin to train as a sculptor and finally reunites with “Torba”. Thus, the first St. Petersburg composition of “Torba” is assembled. In October 1998, the group played its first public concert at the Moloko club, and a little later found itself in the lecture hall of the Zoo, where the permanent Festival of Pure Music took place, organized by Volodya Ivanov from Fomina Week. The festival becomes a launching pad for Torba, since the group’s first song is released on its cassette collection. At a concert at the Zoo, an important acquaintance for the future of the group occurs - with its sound engineer Sergei Grigoriev (b. 07/19/73 in Leningrad). Sergey himself is a strong musician, guitarist, arranger and songwriter. He made his debut in 1989 in the group “Algol”, later played with “Empire” and “White Angel”, and after being invited to work in the lecture hall of the “Zoo”, he began performing in a duet with its director, the famous bard Vyacheslav Kovalev, recording his studio project “L Sound” and many regulars of the zoo scene, including “Night Snipers”.

In November 1998, with the help of Grigoriev, “Torba” recorded the demo album “Live at the Zoo”, and in early December the same Grigoriev brought musicians to the Calypso studio, where his colleague from “White Angel” Alexei Ageev worked. There the group’s first studio pancake of three songs is baked. Although its quality was far from ideal, the album "Torba-na-Kruche" was for a long time the only available material of the group and helped it expand its circle of fans. The good attitude - frankly, love - of all the staff and, especially, the director of the concert hall, Vyacheslav Kovalev, makes Torba-na-Kruche actually the house band of the Zoo, and the group also finds its director there. This is the web-master of the Zoo Concert Hall, Maxim Kolodiy, who, in addition to his directorial responsibilities, also shouldered the promotion of the group on the Internet.

In January 1999, “Torba” participates in “Pure Sound”; the first change occurs in the group. Grisha Maliev, who had long accumulated good songs that did not fit into the style of “Torba”, revived “Experiment for Three”. A couple of times he is replaced by Konstantin Kokorin, another colleague of Grigoriev in “White Angel” and the leader of “Jet”, but he is also busy with his own projects, so at the beginning of 1999 the post of bass guitarist was taken by Dmitry Andreev, who together with Grigoriev did the sound in “Zoo” .

After the July festival “White Nights in Bezabotny” in the suburban village of Gorbunki, “Torba” also loses its second bass player. It all ends with the fact that after the summer holidays, Sergei Grigoriev himself joins its lineup, replacing the guitar with bass. Thanks to this, the connections between “Torby-na-kruche” and the “Zoo” became even stronger. Since the beginning of the next decade, Ivanov, Bespalov, Pyatkin and Pozhidaev, in various configurations, have been participating in concerts and recordings of Slava Kovalev and another talented rock bard Alexander Safronov, as well as Grigoriev’s first group “Algol” and a number of his studio works.

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By this time, the group’s style begins to take on clearer outlines: there is almost no folk left in it, but there are elements of art rock, baroque and Britpop, and a hard guitar sound in the tradition of the then popular Radiohead, Muse, etc. becomes prevalent. At first, public opinion writes “Torba” into the epigones of “Spleen”, although the two groups had only common sources of musical inspiration, and the poetic language is completely different. However, friendly relations are soon established between the groups, and Splin’s concert sound engineer Timur Galbatsev, to the best of his ability and time, makes sound at Torba’s concerts.

At the turn of the century, “Torbu-na-kruche” was discovered by visitors to St. Petersburg clubs, and already in the spring of 2000 the team played at the United Russia festival on the same stage with the Untouchables, Chaif and Spleen.

In April, three new songs were recorded live in the now very familiar “Zoo”, and several more were being prepared for recording. In June, the group took part in the ten-day festival “Animalism 2000” in the “Zoo” hall (in the same program as “Wine”), and in the fall they began performing throughout the city, quickly gaining more and more new fans. They started talking about them. At the beginning of October, “Torba” makes its first visit to Moscow, performing at the “Bunker” club. In November he plays at the next festival in Gorbunki, celebrates his second birthday at the Zoo, and also accompanies singer and songwriter Elena Gudkova at a concert at the Variety Theater.

Along with this, the appearance of Olga Urvantseva, a photographer for FUZZ magazine, an “athlete, Komsomol member” and generally a good person who has done a lot for the group in terms of promoting the creativity of the guys in the musical society of St. Petersburg, provides another significant infusion into the group. Today, Olga has over forty photographs taken from the group’s concerts. But the replenishment in the ranks of like-minded people did not end there. In the fall of 2000, Denis Repin, a sound engineer student from the University of Cinema and TV, met the group, who, ironically, had previously studied at the same Kirov School of Arts side by side with the leader of “Torba”, but at that time did not yet know Max personally. In the winter of 2001, Denis, together with his classmate, cameraman Ivan Kotelnikov, shot the group’s first video for the song “Winter,” recorded in January 2001 at the St. Petersburg studio “Dobrolet” by Andrey Alyakrinsky (TequillaJazzz). The second song "Exception", recorded in the same session, is included in FUZZbox No. 12 (CD application of the music magazine "FUZZ"). While learning the basics of studio music sound engineering at the St. Petersburg Recording Studio, Denis Repin simultaneously gains experience in concert work, practicing in the club " Polygon".

In January 2001, three songs were recorded at the Dobrolyot studio, marking the beginning of her first full-length album. In March-April, director Denis Repin takes part in an international competition of groups under the auspices of the Swedish recording company "Polarvox" at the Hollywood Nights club, and a little later he presents his first video "Winter" in "Planet-Internet". In May 2001, Max and Artyom received diplomas from the St. Petersburg Conservatory. After the harsh school of Moscow-St. Petersburg club concerts ("Concert Hall Leningradsky Zoopark", "Moloko", "Polygon", "Hollywood Nites", "Planet-Internet", "City Club", "Fakultet", "Ten", "Klim Voroshilov", "Manhattan", "Art-Spirit", "Bunker", "Tabula Rasa", "Art-Garbage", "Vermel", "Dzen") the group begins to conquer stadium venues. From the St. Petersburg rock festivals "Breakthrough-01" and "Open Windows!" (“Torba” becomes one of the heroes of the All-Russian festival at the Kirov Stadium, performing exactly between “Different People” and “Aquarium”), to “Invasion 2001 (in Ramenskoye near Moscow), where Torba plays in front of an audience of one hundred thousand on the same day with such stars of the domestic rock scene as Tequilajazzz and DDT) and much more.

After the festival "Open Windows!" The Manchester Files label is interested in the group's work, at the suggestion of which in August-September "Torba-na-kruche" recorded eleven songs on "Dobrolyot" that made up its debut album "Nepsikh". It is recorded by Tequilajazzz's in-house sound engineer Andrei Alyakrinsky, known for working with such popular bands as Chaif, Marksheider Kunst, Leningrad, etc. The album is officially presented to the public on December 14 at the Polygon club. A month earlier, “Torba” paid tribute to politeness by playing at the fifth anniversary of “Dobrolyot” in the Palace of Culture named after. Lensovet. In 2002, songs from the album "Nepsikh" were included in a number of music collections produced by Russian companies. A video is being filmed for the first song from the album “What Is Not Clear”, the presentation of which takes place in March 2002 on the MTV-Russia channel. On April 19, 2002, in the “Fakultet” club, “Torba-na-kruche” holds a comic (albeit only partially) ceremony for presenting the “Zuff” award, conceived by the band’s musicians as an alternative to the opportunistic and far from the true state of affairs of the monthly “Fuzz” award. In May the group plays at the open-air festival "Ours in the City", in June at the second "Windows", and in August they perform at the festival "Invasion 2002".

Communication with the musicians of “Tequilajazzz” results in the recording of a joint song “Numbers”: it is composed by Max Ivanov and sung in a duet with the leader of “Tequilajazzz” Zhenya “Ayyayay” Fedorov. "Numbers" and two more new songs ("Nostalgia" and "Bullshit"), recorded in Moscow by Sergei Bolshakov and Sergei Navetny (at that time "Splin"), are included in the maxi-single "Numbers", released on New Year's Eve 2003 in circulation 10 thousand as a free supplement to NME magazine. The natural melodic gift and stage charm of the group leader Max IvAnov are significantly supported by the high professional level of the other members of Torba-na-kruche.

In March 2003, “Torba” was a guest at the gala concert of the rock festival “Flood” in the Palace of Culture named after. Lensovet. In April, the Zuff Award ceremony takes place for the second time - this time in the City club. The group adds another tribute to their collection, this time to “Picnic” (the song “Hieroglyph”), as well as a duet with ex-Tatu producer Lena Kiper “Draw”. At the beginning of August, two songs were recorded for the second album, after which Oleg Pozhidaev left the group: the reasons were the inability to go on tour (shortly before this his child was born) and the desire to slightly improve his skills. Yanis Semyonov (b. 04/14/81 in Leningrad), the son of the founder of “Rock State” Igor Semyonov and a member of the friendly group “Jet,” is hastily invited to the group. It’s interesting that, like Pozhidaev, Semyonov is a left-handed drummer! Janis's debut takes place at the next bike show in Olgino.

From August 6 to September 7, 2003, Andrei Alyakrinsky recorded the second album “Torba” on “Dobrolyot”: a total of fourteen songs were recorded (including the English-language “Black & Red”, which is not included in the album and remains in reserve). In the fall of 2003, the guys celebrated the fifth anniversary of “Cartoon Films” at the Palace of Culture named after. Lensovet and at the student festival “Not the Last Autumn” in LDM (September). In October, a presentation of the group's new website takes place at Cafemax. In December, at the "Moloko" club, "Torba" presents to the public the Vyatka group "Romislokus", which is related in geography and spirit, and also signs a contract for the publication of the second album, named "Hour of Time", with the Moscow company FG "Nikitin".

Over the past three years of active concert activity, "Torba" has taken part in more than 40 festivals, gives 243 concerts in 23 cities of Russia: Pskov, Ekaterinburg, Saratov, Kursk, Volgograd, Kazan, Yaroslavl, Izhevsk, Orenburg, the distant city of oil workers Noyabrsk, Tyumen, Smolensk, Rostov-on-Don, Sochi, Kirov.

In February 2004, the group's first performances in Europe took place. These are two concerts in the large Finnish cities of Turku and Helsinki, which laid a solid foundation for future tours. And already in the summer of the same year, having received a grand from the Council of Ministers of the Nordic Countries, as a talented rock group, “Torba-na-kruche” performs in Stockholm (Sweden).

On April 5, the company FG "Nikitin" released the second album "Hour of Time". The new album “Torby-na-kruche” includes both old songs (“Flashlight”, “Winter”, “Talk to me”, “Hello, come through”), and completely new ones (“Cannibalist”, “Love-farewell” , "Whose is He"). The drum parts in the new album are recorded by St. Petersburg musician Yanis Semenov, who continues to collaborate with the group at concert performances, becoming a full member of Torba, replacing Oleg Pozhidaev. The presentation of the "Hour of Time" takes place in April.

On May 28, 2004, the group takes part in the “Ours in the City” festival together with Alisa, DDT, Pilot, Kukryniksy, Tarakanami and others, and already in early June “Torba” takes part in a theater and music festival on the stage of the club “Red” ", a week later - in the next "White Nights in Carefree".

In the fall, the company FG "Nikitin" releases "Hour of Time" again: with new design and the addition of three previously unreleased tracks. The songs “Conversation with an Angel” and “Whose Is It?” are included in the collections “Rock Star Hit Parade” and “Attention! Caution rock! Part 2". In parallel with this publishing house "Composer" the sheet music of 11 songs of the group is being published in the series "The Best of Russian Rock".

Oleg Pozhidaev returns to “Torba” for several concerts, however, never feeling at ease, he again gives way to Yanis and is busy working at “Studio No. 1,” which he heads together with the keyboard player “KS and MP-3” Pavel Klyucharyov. In addition, Oleg collaborates on stage and in the studio with the groups “Fomina Week”, “Steps”, etc. In December, Max’s solo album “Acoustics 1” is released, a separate disc, without labels, as they say, samizdat, recorded by the current sound engineer “Tags” by Sergei Stepanov.

In March, the group goes on a large concert tour “56th Parallel of the Earth”, and in May takes part in the celebration of the 60th anniversary of the victory in the Great Patriotic War, performing “Song of New Times” by Vladimir Vysotsky and “Song of Cranes” by Mark Bernes. In addition, as befits those who have overcome the first steps on the ladder of success, the members of “Torba” always support musicians close to their genre, both from St. Petersburg and from the provinces (but, above all, from Vyatka), involving the group “Romislokus” in joint performances, “After 11”, “Quiet Jazz”, etc.

Without betraying traditions, in the summer "Torba" participates in music festivals in Russia and Europe, including "Megahouse-2005", "Wings", "RADIO-1" (Latvia), "Rock Festival" (Finland) and others. By this time, “Torba” is moving from the Palace of Culture named after. I Five-Year Plan (where she had been robbed the previous fall, significantly slowing down the recording of the new album) at the Police House of Culture and, having significantly reduced the number of performances, begins to work on new material. Taking advantage of the resulting pause, Sergei Grigoriev again begins to tour the country with Slava Kovalev, and Lyosha Pyatkin periodically plays with Grisha Maliev’s blues band “VALERY & EX3”. In November 2005, “Torba” celebrates its seventh anniversary. By this date, Max IvAnov’s book “A Bag of Fairy Tales” is being published in a small edition. In addition, at concerts (mainly at apartment buildings), Max’s solo album “Acoustics 1”, published by the group, sold out, and at the end of the month, keyboard player and flautist Artem Bespalov (who decided to try himself as an author and is engaged in instrumental music for radio) left the group , television and advertising).

On January 17, 2006, Maxim became a father and his daughter Marya Maksimovna Ivanova was born. The group, along with a busy concert schedule (Moscow, St. Petersburg, Tallinn, in the summer performing at the City Day celebration in Ventspils, Latvia), continues to work on the third album in the Moscow studio, and the leader gives solo apartment shows in Moscow and St. Petersburg, and appears on television (“kvartirnik” "on O2 TV and "Living People" together with A. Pyatkin on 100 TV), at the NME-party in October and the concert "My Rock and Roll" by Mikhail Kozyrev.

In June, the permanent keyboard player and flutist Temson (Artem Bespalov), who left in November last year, returns to the group. Spring 2007 turns out to be very fruitful. The group performs mainly in clubs in Moscow and St. Petersburg. At the same time, Max continues to preserve the traditions of Russian rock, playing apartments. In mid-April, he releases the long-awaited half of the future album, an EP called “57th Parallel”, which joins the general flow of new products and does not go unnoticed among fans of Max IvAnov’s work. It includes 4 freshly made compositions (Friend, Piles, Sun, Always with you) and 3 remixes. With this EP, the group made it clear that the guys are not sitting idly by, but working hard. And that a new album is just around the corner.

5 years after the release of the last video, the group decides to try to make another video creation. This time a very driving composition is chosen from a freshly made EP called “Sun”. Without thinking for a long time about the candidacy of the director, “Torba-na-kruche” calls on his old friend (familiar to the audience from the early videos “Winter” and “What is not clear”) Denis Repin. Filming takes place in Artyom Bespalov’s hometown - Samara.

At the end of April, he performed for the second time on O2 TV as part of the “apartment house” project (this time together with Lyosha). In the summer of 2007, “Torba” comes to Latvia for the 4th time and 3rd year in a row, this time to the Osvalds festival, and on August 31, Max and Lyosha give a joint performance in their native Kirov. The guys even announce their possible move to Latvia (Ventspils) due to a calmer and quieter life for their children, as well as the opportunity to create in better living conditions. In the New Year of 2008, Max and company, having tried many arrangements for new songs and experimented with sound, and seeing that it was not time for the album to be released, decided to put it on the shelf until better times.

Having set themselves the goal of releasing a new album by the fall, the guys take other songs and begin painstaking work on them, not forgetting about concerts.

In the summer, Max and Artyom will present an acoustic program and perform with it in Germany, Latvia, Estonia, and on July 22 they will present it in Moscow at the Olympics 80 club.

In August 2008, after much deliberation, the oldest member in age and irreplaceable for the last 9 years, bass guitarist Sergei Grigoriev, decided to leave the group. He decides to continue his creative activity with an old friend, bard performer Vyacheslav Kovalev.

Torba again faces a difficult choice in finding a new musician. The vacant position at the bass guitar is taken by guitarist Lyosha Pyatkin, and former member of the Brothers Grimm group Maxim Malitsky is invited to play lead guitar.

On September 11, on channel 100 TV in the program “100% Sound”, “Torba-na-kruche” will present its new album (this is the first television performance with Max Malitsky on guitar and the last with Sergei Grigoriev on bass guitar).

On September 19, finally, after 4 agonizing years of waiting and painstaking work, “Torba-na-kruche” releases an album called “It Doesn’t Happen.” It includes 12 tracks, two of which (“Friend” and “Piles”) were present on the “57th Parallel” EP. The guys also include “Rock Star Girl”, “Thoughts”, “She Got Lost”, “Drenched in the Sun”, “Life is a Pond”, the old and cheerful “Morning on the Grass”, and a completely new lullaby written by Max IvAnov for his daughters, the song “Maryushka”. The album turns out to be very light, lyrical and spring-like. All songs (with the exception of “Maryushka”) have previously been performed at concerts and at the group’s apartments, but despite this, fans give good ratings and reviews to the album. “Torba” decides to please its fans again by releasing two more videos simultaneously with the album for the songs “Friend” and “On the Edge” (directed by Evgeniy Sabelfeld).

At the end of September 2008, presentations of “It Doesn’t Happen” take place in St. Petersburg and Moscow, and on December 6 - in Maxim and Lyosha’s native Kirov.

In November, the group reaches the 10th anniversary of creative activity and celebrates its anniversary with concerts in Moscow and St. Petersburg with loyal fans.

In December, he performs at a large concert dedicated to the release of the tribute “NAU” (together with “Picnic”, “Semantic Hallucinations”, “Chaif”, “Nastya”, “U-Peter”, etc.) and performs 2 songs - “Golden Spot” " and "Just to be", which is included directly on the disc itself. This is already the third tribute to Torba and we can safely say that all the covers turn out “excellent”. In response to this, Vyacheslav Butusov in his new album “Model for Assembly”, where he performs compositions of young little-known groups, includes Torba’s “Love-Farewell” "

On September 25, 2009, at the site of the St. Petersburg club “Waiting Hall”, “Unrealizable” was presented - the same record on which the work had been going on for so long and difficult.

In 2009, the song “Fugitive” was featured in the credits for Pavel Sanaev’s film “At the Game.”

In 2010, the group began recording the album “Triptych”, which will be released in 3 streams (singles), which will eventually form one album. Two seasons are taken as reference points - spring and autumn; the first part will be released this spring, the second in the fall, and next spring the third, final, telling the whole story. On April 10, 2010, the group presented the first single - “Three”.

Composition of the group

Max Ivanov - vocals, guitar, viola

Artem Bespalov - keyboards, flutes, programming

Alexey Pyatkin - guitar, bass guitar

Max Malitsky - guitar

Yanis Semenov - drums

"Torba-on-Krucha"- Russian rock band, has existed since 1998. The permanent leader is Max Ivanov. The group has repeatedly taken part in the festivals “Open the Windows!”, “Invasion”, “Neighboring World”, “Wings” and others.

Story

The founder and author of almost the entire repertoire of the group, guitarist, singer and violist Maxim Ivanov was born on April 5, 1974 in Kirov, into a theatrical family. After graduating from music school, he entered the school to study viola. At the turn of the 90s, Maxim discovered rock and roll, and later Celtic mythology and the cult trilogy of J. R. R. Tolkien about Middle-earth. It was under the influence of Tolkien that Ivanov named his group “Torba-on-Kruche” (the name of the home of Bilbo and Frodo Baggins). Tolkien's poetic and at the same time reliable fantasy world became Maxim's first source of inspiration and was reflected in the images and plots of his early songs. Guitarist Stanislav Svintsov becomes Ivanov’s first colleague in the future group.

The group begins its journey in the spring of 1991. One of the first successes of “Torba” was its performance at the festival “Revival of the Motherland of Russian Romance” together with “Wine” and “Peter’s Cross” in October 1991. The group at that time included Ivanov, Svintsov (bass), Nikolai Rublev (keyboards), Ilya Kuimov (violin) and Edgar Druganov (from the group “Infarct”, drums). On December 27-30 of the same 1991, “Torba” performed at the “Festival of Independent Rock Press” of the Moscow magazine “Counterculture”.

From March 1994 to September 1995, Ivanov served as a musician in the army. Then he rehearses for a year at home with various musicians, including guitarist Alexey Pyatkin, collaborates with the local Rock Laboratory (from which the group “Romislokus” later emerged), after which in 1996 he leaves for St. Petersburg, where he enters the Conservatory to study viola. In the conservatory dormitory, Ivanov meets the musicians with whom he founds a group. The name remains the same - “Torba-na-kruche”. The first member of the new group was Maxim’s roommate Grigory Maliev, who studied clarinet and had previously played bass in the trio “Experiment for Three” in his native Novorossiysk. They are joined by flutist Artyom Bespalov from Saratov). A year later, Oleg Pozhidaev entered the Conservatory from Krasnodar, where he managed to graduate from music school and took part in a number of competitions and festivals. Rehearsals begin right in the hostel. Somehow, the decision was immediately made that the new group would be called “Torboy-na-kruche”, although the sound of this line-up bears little resemblance to the Vyatka period.

And others.

Story

The founder and author of almost the entire repertoire of the group, guitarist, singer and violist Maxim Ivanov was born on April 5, 1974 in Kirov, into a theatrical family. After graduating from music school, he entered the school to study viola. At the turn of the 90s, Maxim discovers rock and roll, and later Celtic mythology and J. R. R. Tolkien's cult trilogy about Middle-earth. It was under the influence of Tolkien that Ivanov named his group “Torba-on-Kruche” (the name of the home of Bilbo and Frodo Baggins). Tolkien's poetic and at the same time reliable fantasy world became Maxim's first source of inspiration and was reflected in the images and plots of his early songs. Guitarist Stanislav Svintsov becomes Ivanov’s first colleague in the future group.

During the same period, Max Ivanov participated in the samizdat magazine “12.13” and collaborated with the groups “Peter’s Cross”, “Heart Attack” and “Vino”. The latter, however, soon moved to St. Petersburg, where it turned into “Wine”. Home-grown recordings of “Torba” are circulating around the city, but it never comes to full-length albums.
From March to September 1995, Ivanov served as a musician in the army. Then he rehearses for a year at home with various musicians, including guitarist Alexey Pyatkin, collaborates with the local Rock Laboratory (from which the group “Romislokus” later emerged), after which in 1996 he leaves for St. Petersburg, where he enters the Conservatory to study viola. In the conservatory dormitory, Ivanov meets the musicians with whom he founds a group. The name remains the same - “Torba-na-kruche”. The first member of the new group was Maxim’s roommate Grigory Maliev, who studied clarinet and had previously played bass in the trio “Experiment for Three” in his native Novorossiysk. They are joined by flutist Artyom Bespalov from Saratov). A year later, Oleg Pozhidaev entered the Conservatory from Krasnodar, where he managed to graduate from music school and took part in a number of competitions and festivals. Rehearsals begin right in the hostel. Somehow, the decision was immediately made that the new group would be called “Torboy-na-kruche”, although the sound of this line-up bears little resemblance to the Vyatka period.

By that time, Max had written about two hundred new songs. In the first year of its existence, “Torba” rehearsed a lot and recorded a demo tape at the studio in the Palace of Culture named after. Ilyich on "Electrosila", but her stage debut is postponed - Max is waiting for the arrival of Pyatkin, who is graduating from the Kirov Art School. In the summer of 1998, Alexey moved to St. Petersburg, enrolled as a sculptor and finally reunited with “Torba”. Thus, the first St. Petersburg composition of “Torba” is assembled.

1998 - debut concert

In October 1998, the debut public concert of “Torba” took place on the stage of the St. Petersburg club “Moloko”. Then the group is celebrated at the Pure Music Festival, held in the lecture hall of the Zoo. This event was notable for the fact that the first song “Torby-na-kruche” was released on the cassette collection of the festival “Live at the Zoo”. There at the festival, the group met their future sound engineer Sergei Grigoriev, thanks to whom in December 1998 the first studio album of three songs was recorded at the Calypso studio. Thanks to his acquaintance with the director of the Zoo Concert Hall, Vyacheslav Kovalev, the group “Torba-na-Kruche” actually becomes the house band of the club. There the group finds its director, who becomes Maxim Kolodiy, who, in addition to directorial responsibilities, takes on his shoulders the promotion of the group on the Internet.

In the fall of 2000, Denis Repin, a sound engineer student from the University of Cinema and TV, who previously studied at the same Kirov School of Arts as the leader of the group, met the group. In the winter of 2001, Denis, together with his classmate, cameraman Ivan Kotelnikov, shot the group’s first video for the song “Winter”, recorded in January of the same year at the Dobrolet studio by Andrey Alyakrinsky from the group “Tequilajazzz” (the second song, “Exception”, recorded in this the same session, included in FUZZbox No. 12, an application of the music magazine “Fuzz”). While learning the basics of studio music sound engineering at the St. Petersburg Recording Studio, Denis Repin simultaneously gains experience in concert work by practicing at the Polygon club.

2001 - discovery of the year

After the experience of club Moscow-St. Petersburg concerts (“Concert Hall Leningradsky Zoopark”, “Moloko”, “Polygon”, “Hollywood Nites”, “Planet-Internet”, “City Club”, “Faculty”, “Ten”, “Klim Voroshilov ", "Manhattan", "Art-Spirit", "Bunker", "Tabula Rasa", "Art-Garbage", "Vermel", "Dzen", and others) the group begins to conquer stadium venues. “Torba-na-Kruche” takes part in the St. Petersburg rock festivals “Proryv-01” and “Open the Windows! ", and then at the festival Invasion -2001 (in Ramenskoye near Moscow). After the festival “Open the Windows! “The Manchester Files label is interested in the group’s work, with the help of which, from August to September, “Torba-na-kruche” recorded eleven songs on “Dobrolyot” that made up its debut album “Nepsikh”. The album was officially presented to the public on December 14 at the Tochka club, and in 2002, songs from the album were included in a number of music collections produced by Russian companies.

At the same time, Denis Repin is filming a second video (for the song “What is not clear”), the presentation of which took place in March 2002 on the MTV-Russia channel. In May the group plays at the open-air festival “Ours in the City”, in June at the second “Windows”, and in August they perform at the festival “Invasion 2002”. On September 14, the group headed the rock festival “Rise”, which took place as part of the marathon “Kirov - the cultural capital of the Volga region-2002” in the Alexander Garden of Kirov and organized by the radio station “Maria FM”. (At this festival, Denis Repin acted as an ideological inspirer and co-organizer, who invited the St. Petersburg “Torba-on-Kruche” to Kirov, after which Denis remains in Kirov and connects his activities with the Kirov group Tihiy Dzha)

Communication with the musicians of “Tequilajazzz” results in the recording of a joint song “Numbers”: it is composed by Max Ivanov and sung in a duet with the leader of “Tequilajazzz” Evgeny Fedorov. “Numbers” and two more new songs (“Nostalgia” and “Bullshit”), recorded in Moscow by Sergei Bolshakov and Sergei Navetny (at that time “Splin”), are included in the maxi-single “Numbers”, released on New Year’s Eve 2003 in circulation 10 thousand as a free supplement to the New Musical Express magazine.

At the beginning of August, Oleg Pozhidaev left the group, as a result of which Yanis Semyonov, a member of the friendly group “Jet,” was hastily invited to the group. In the period from August 6 to September 7, 2003, Andrei Alyakrinsky recorded the second album “Torba”: a total of fourteen songs were recorded (including the English-language “Black & Red”, which is not included in the album and remains in reserve). The presentation of the album, called “The Hour of Time,” takes place in October at the Cafemax club, and in December a contract for its publication is signed with the Moscow company FG Nikitin.

In just three years of active concert activity, the Torba-on-Kruche group takes part in more than 40 festivals, gives 243 concerts in 23 cities of Russia (Pskov, Ekaterinburg, Saratov, Kursk, Volgograd, Kazan, Yaroslavl, Izhevsk, Orenburg, Noyabrsk , Tyumen, Smolensk, Rostov-on-Don, Sochi, Kirov, and others).

2004 - concerts in Europe

In February 2004, Torba's first performances in Europe took place: the group played two concerts in the Finnish cities of Turku and Helsinki, which laid a solid foundation for future tours. And already in the summer of the same year, having received a grant from the Nordic Council of Ministers, as a talented rock band, “Torba-na-kruche” performs in Stockholm (Sweden).

2005 - 56th parallel

At the end of April, a performance takes place for the second time on the O2TV channel as part of the “apartment building” project. In the summer of 2007, Torba comes to Latvia for the fourth time (and the third year in a row), this time to the Osvalds festival. In the summer, Max Ivanov and Artyom Bespalov will present an acoustic program and perform with it in Germany, Latvia, Estonia, and on July 22 in Moscow, at the Olympiad 80 club.

2008 - It doesn’t happen like that

In 2009, the song “Fugitive” is heard in the credits for Pavel Sanaev’s film “At the Game” (On October 24, the group, together with the actors of the film, took part in the filming of the video of the same name). The group also released two more videos for compositions from “Unfulfilled” - videos for the songs “Star” and “In the Port” were shot by Denis Repin in 2009 and 2010, respectively.

2010 - present - Triptych and beyond

In 2010, Torba-na-Krucha launched the TriPtiH project, on which the musicians began working almost immediately after the release of Unrealizable. A triptych, as you know, is a work of art consisting of three parts (paintings) united by a common idea - and as part of the project, the group planned to release three releases, which would ultimately make up one new album. Two seasons were taken as reference points - spring and autumn: in the spring of 2010 it was planned to release the first part, in the fall - the second, and in the spring of 2011 - the third, final, telling the whole story.

On April 10, 2010, the group presented the first single - “Three”, on September 21, 2010 - the single “Pti”, and the release of the final part of the project was postponed to the fall of 2011 and took place on November 18. The presentation of “TriPtiKha” took place on November 23, 2011 in the Moscow club “16 tons” and in the St. Petersburg “Cosmonaut”.

As part of the tour to celebrate the release of the third part of the project, the album “X”, material was also filmed for the concert DVD of Torba-on-Kruche. Filming took place on December 10, 2011 in Kirov at the Cosmos Palace of Culture. The DVD was released on December 30, 2012, the video became available to the entire Internet community in copyright distributions on the torrent tracker rutracker.org.

For each of the three TriPtiKha records, their own video clip was also shot - the group’s videography was supplemented with clips for the compositions “Monologue”, “Heart” and “You Are Silent for Days”. All videos were directed by Denis Repin.

In 2012, “Torba-na-Kruche” continues its active concert activity - in the summer the group performs solo concerts and at the “Invasion” and “Neighboring World” festivals, the Lithuanian festival “Žagarės vyšnių festivalis”, and before going on summer vacation it announces the dates of its a new tour, called “Vostok-1”, on the occasion of the group’s first performance in Vladivostok, the easternmost city of our country. According to the musicians themselves, this is their longest tour to date in terms of time and number of cities.

In a recent interview about the tour, Max Ivanov: “We all come from childhood. Including our musicians. Therefore, the first human flight into space - the flight of Yuri Gagarin on the ship of the same name - is for us the most important milestone in childhood experiences. And a reason to be proud of the country. Over the years, all this does not go away; on the contrary, the heart shrinks even more from longing for bygone impressions. That’s why the “space” theme is now clearly reflected in the themes of not only our songs, but also simply in our thoughts.”

The “result” of these autumn tours was the band’s new video - for the song “Once More Night” from the album “X”, the third part of the “TriPtiKh” project. The author of the work was director Vladimir Saraev, who met the musicians during their visit to Novosibirsk. The premiere screening of the video clip took place on November 24, 2012 at a concert in the St. Petersburg club “Waiting Room”, where Torba-na-Kruche celebrated its 14th anniversary, and the work was published for the general public on the group’s official channel on the website on the first day of winter, December 1 .

At the very beginning of 2013, the group goes to Kazakhstan. On January 13, in Almaty, at the Shymbulak ski resort, an open-air concert took place - at an altitude of 2500 m above sea level. During the performance, a video was also shot for the song “On the Bridge (Piles),” included in the album “It Doesn’t Happen.”

In the spring of 2013, as a continuation of the Vostok-1 tour, the group visited Ukraine for the first time with solo concerts. In April, concerts took place in Odessa, Kyiv, Kharkov, as well as several performances in Donetsk (both in full force and separately with an acoustic concert by Max IvAnov).

Composition of the group

Current composition

Max Ivanov - vocals, guitar, viola
Artem Bespalov - keyboards, flutes, programming
Alexey Pyatkin - guitar, bass guitar
Maxim Malitsky - guitar
Igor Belenko - drums

Musicians participating in the group

Grigory Maliev - bass guitar (1998-1999)
Dmitry Andreev - bass guitar (winter 1999 - autumn 1999)
Oleg Pozhidaev - drums (1998-2003)
Sergey Grigoriev - bass guitar (1999-2007)
Yanis Semenov - drums (2004-2012)

Discography

- “From the Rain” (single, Manchester Files, division of Bomba-Piter inc., 2001)
- “Not crazy” (album, Manchester Files, division of Bomba-Piter inc., December 2001)
- “Numbers” (single, Manchester Files, November 2002)
- “Hour of Time” (album, FG “Nikitin”, under license from Bomba-Piter inc., April 2004)
- “57°00"” (minion, April 2007)
- “It doesn’t happen like that” (album, 2+2=5, September 2008)
- “Unrealizable” (album, Torba-na-Kruche, September 2009)
- “Three” (single, first part of the “Triptych” project, April 2010)
- “Pti” (single, second part of the “Triptych” project, September 2010)
- “X” (album, third part of the “Triptych” project, November 2011)
- “Parts of the World” (album, Torba-na-Kruche, November 2014)

Videography

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Notes

Burlaka A. Torba-on-Krucha. - Rock encyclopedia. Popular music in Leningrad-Petersburg. 1965-2005. - St. Petersburg: Amphora, 2007. - T. III. - P. 421-?. - 520 s. - 5000 copies. - ISBN 978-5-367-00361-1.
Kubyshkina T.(Russian) . Zvuki.Ru (December 15, 2001). Retrieved November 22, 2011. .
Borisova E.(Russian) . Zvuki.Ru (August 10, 2004). Retrieved May 6, 2011. .
Sheveleva A.(Russian) . Zvuki.Ru (September 9, 2002). Retrieved November 22, 2011. .
Metelkova Yu.(Russian) . Zvuki.Ru (November 8, 2002). Retrieved November 22, 2011. .
(Russian) . Zvuki.Ru (March 21, 2003). Retrieved November 22, 2011. .
(Russian) . Zvuki.Ru (April 16, 2003). Retrieved November 22, 2011. .
Gluck E.(Russian) . Zvuki.Ru (April 29, 2003). Retrieved November 22, 2011. .
(Russian) on the official website of “Torby-on-Kruche”
Ustyuzhanina P.(Russian) . Zvuki.Ru (June 8, 2004). Retrieved November 22, 2011. .
Lipatov A.(Russian) . Zvuki.Ru (September 19, 2006). Retrieved November 22, 2011. .
(Russian) site about the tribute band Nautilus Pompilius.
Korenkova A.(Russian) . Culture. Arguments and facts St. Petersburg (September 28, 2009). Retrieved May 10, 2011. .
Lapina Yu.(Russian) . (October 30, 2009). Retrieved May 10, 2011. .
Torba-na-Krucha: presentation of the long-awaited album “Unrealizable”. www.dom43.ru/article_view?a_id=16052
(Russian) . News. (November 3, 2009). Retrieved May 10, 2011. .
(Russian) on the official website of the film “At the Game”.
Yushchenko E.(Russian) . Eh, Art.... Echo of Moscow (February 4, 2011). Retrieved May 10, 2011. .
Roshchina A.(Russian) . (November 23, 2011). Retrieved December 27, 2011. .
Filmed on April 6, 2008 at the Orange club, Moyo Kino studio, cameramen: Sabelfeld E., Demidov V., Grigoriev A.

Literature

A. S. Alekseev. Who's Who in Russian Rock Music. - M. : AST: Astrel: Harvest, 2009. - P. 484. - ISBN 978-5-17-048654-0 (AST). - ISBN 978-5-271-24160-4 (Astrel). - ISBN 978-985-16-7343-4 (Harvest).

An excerpt characterizing Torba-na-Krucha (group)

– Vous savez, que je ne suis pas bonapartiste, mon prince. [You know, prince, that I am not a Bonapartist.]
“Dieu sait quand reviendra”... [God knows when he will return!] - the prince sang out of tune, laughed even more out of tune and left the table.
The little princess remained silent throughout the argument and the rest of the dinner, looking fearfully first at Princess Marya and then at her father-in-law. When they left the table, she took her sister-in-law by the hand and called her to another room.
“Comme c"est un homme d"esprit votre pere," she said, "c"est a cause de cela peut etre qu"il me fait peur. [What a smart man your father is. Maybe that’s why I’m afraid of him.]
- Oh, he's so kind! - said the princess.

Prince Andrey left the next day in the evening. The old prince, without deviating from his order, went to his room after dinner. The little princess was with her sister-in-law. Prince Andrei, dressed in a traveling frock coat without epaulettes, settled down with his valet in the chambers assigned to him. Having examined the stroller and the packing of the suitcases himself, he ordered them to be packed. In the room there remained only those things that Prince Andrei always took with him: a box, a large silver cellar, two Turkish pistols and a saber, a gift from his father, brought from near Ochakov. Prince Andrei had all these travel accessories in great order: everything was new, clean, in cloth covers, carefully tied with ribbons.
In moments of departure and change of life, people who are able to think about their actions usually find themselves in a serious mood of thought. At these moments the past is usually reviewed and plans for the future are made. Prince Andrei's face was very thoughtful and tender. He, with his hands behind him, quickly walked around the room from corner to corner, looking ahead of him, and thoughtfully shaking his head. Whether he was afraid to go to war, or sad to leave his wife - maybe both, but, apparently, not wanting to be seen in such a position, hearing footsteps in the hallway, he hastily freed his hands, stopped at the table, as if he was tying the cover of a box, and assumed his usual, calm and impenetrable expression. These were the heavy steps of Princess Marya.
“They told me that you ordered a pawn,” she said, out of breath (she was apparently running), “and I really wanted to talk to you alone.” God knows how long we will be separated again. Aren't you angry that I came? “You have changed a lot, Andryusha,” she added, as if to explain such a question.
She smiled, pronouncing the word “Andryusha”. Apparently, it was strange for her to think that this stern, handsome man was the same Andryusha, a thin, playful boy, a childhood friend.
-Where is Lise? – he asked, only answering her question with a smile.
“She was so tired that she fell asleep in my room on the sofa. Ax, Andre! Que! tresor de femme vous avez,” she said, sitting down on the sofa opposite her brother. “She’s a perfect child, such a sweet, cheerful child.” I loved her so much.
Prince Andrei was silent, but the princess noticed the ironic and contemptuous expression that appeared on his face.
– But one must be lenient towards small weaknesses; who doesn't have them, Andre! Don't forget that she was brought up and grew up in the world. And then her situation is no longer rosy. You have to put yourself in everyone's position. Tout comprendre, c "est tout pardonner. [Whoever understands everything will forgive everything.] Think about what it must be like for her, poor thing, after the life to which she is accustomed, to part with her husband and remain alone in the village and in her situation? This very hard.
Prince Andrei smiled, looking at his sister, as we smile when listening to people whom we think we see right through.
“You live in a village and don’t find this life terrible,” he said.
- I'm different. What to say about me! I don’t wish for another life, and I cannot wish for it, because I don’t know any other life. And just think, Andre, for a young and secular woman to be buried in the best years of her life in the village, alone, because daddy is always busy, and I... you know me... how poor I am in ressources, [in interests.] for a woman accustomed to the best to society. M lle Bourienne is one...
“I don’t like her very much, your Bourienne,” said Prince Andrei.
- Oh no! She is very sweet and kind, and most importantly, she is a pitiful girl. She has no one, no one. To tell the truth, I not only don’t need her, but she’s shy. You know, I have always been a savage, and now I’m even more so. I love being alone... Mon pere [Father] loves her very much. She and Mikhail Ivanovich are two persons to whom he is always affectionate and kind, because they are both blessed by him; as Stern says: “we love people not so much for the good they have done to us, but for the good we have done to them.” Mon pere took her as an orphan sur le pavé, [on the pavement], and she is very kind. And mon pere loves her reading style. She reads aloud to him in the evenings. She reads great.
- Well, to be honest, Marie, I think it’s sometimes hard for you because of your father’s character? - Prince Andrei suddenly asked.
Princess Marya was at first surprised, then frightened by this question.
– ME?... Me?!... Is it hard for me?! - she said.
– He has always been cool; and now it’s getting hard, I think,” said Prince Andrei, apparently on purpose to puzzle or test his sister, speaking so easily about his father.
“You are good to everyone, Andre, but you have some kind of pride of thought,” said the princess, more following her own train of thought than the course of the conversation, “and this is a great sin.” Is it possible to judge a father? And even if it were possible, what other feeling than veneration [deep respect] could arouse such a person as mon pere? And I am so satisfied and happy with him. I only wish that you all were as happy as I am.
The brother shook his head in disbelief.
“The one thing that’s hard for me, I’ll tell you the truth, Andre, is my father’s way of thinking in religious terms. I don’t understand how a person with such a huge mind cannot see what is clear as day and can be so mistaken? This is my only misfortune. But here, too, lately I have seen a shadow of improvement. Lately his ridicule has not been so caustic, and there is one monk whom he received and spoke to him for a long time.
“Well, my friend, I’m afraid that you and the monk are wasting your gunpowder,” said Prince Andrei mockingly but affectionately.
- Ah! mon ami. [A! My friend.] I just pray to God and hope that He will hear me. Andre,” she said timidly after a minute of silence, “I have a big request to ask of you.”
- What, my friend?
- No, promise me that you won’t refuse. It will not cost you any work, and there will be nothing unworthy of you in it. Only you can console me. Promise, Andryusha,” she said, putting her hand into the reticule and holding something in it, but not yet showing it, as if what she was holding was the subject of the request and as if before receiving the promise to fulfill the request, she could not take it out of the reticule It is something.
She looked timidly and pleadingly at her brother.
“Even if it cost me a lot of work...”, answered Prince Andrei, as if guessing what was the matter.
- Think whatever you want! I know you are the same as mon pere. Think what you want, but do it for me. Do it please! My father’s father, our grandfather, wore it in all the wars...” She still didn’t take what she was holding out of the reticule. - So you promise me?
- Of course, what's the matter?
- Andre, I will bless you with the image, and you promise me that you will never take it off. Do you promise?
“If he doesn’t stretch his neck by two pounds... To please you...” said Prince Andrei, but at that very second, noticing the distressed expression that his sister’s face took on at this joke, he repented. “Very glad, really very glad, my friend,” he added.
“Against your will, He will save and have mercy on you and turn you to Himself, because in Him alone there is truth and peace,” she said in a voice trembling with emotion, with a solemn gesture holding in both hands in front of her brother an oval ancient icon of the Savior with a black face in silver chasuble on a silver chain of fine workmanship.
She crossed herself, kissed the icon and handed it to Andrey.
- Please, Andre, for me...
Rays of kind and timid light shone from her large eyes. These eyes illuminated the entire sickly, thin face and made it beautiful. The brother wanted to take the icon, but she stopped him. Andrei understood, crossed himself and kissed the icon. His face was at the same time tender (he was touched) and mocking.
- Merci, mon ami. [Thank you my friend.]
She kissed his forehead and sat down on the sofa again. They were silent.
“So I told you, Andre, be kind and generous, as you always have been.” Don’t judge Lise harshly,” she began. “She is so sweet, so kind, and her situation is very difficult now.”
“It seems that I didn’t tell you anything, Masha, that I should blame my wife for anything or be dissatisfied with her.” Why are you telling me all this?
Princess Marya blushed in spots and fell silent, as if she felt guilty.
“I didn’t tell you anything, but they already told you.” And it makes me sad.
Red spots appeared even more strongly on Princess Marya’s forehead, neck and cheeks. She wanted to say something and could not say it. The brother guessed right: the little princess cried after dinner, said that she foresaw an unhappy birth, was afraid of it, and complained about her fate, about her father-in-law and her husband. After crying, she fell asleep. Prince Andrei felt sorry for his sister.
“Know one thing, Masha, I cannot reproach myself for anything, I have not reproached and will never reproach my wife, and I myself cannot reproach myself for anything in relation to her; and it will always be so, no matter what my circumstances. But if you want to know the truth... do you want to know if I'm happy? No. Is she happy? No. Why is this? Don't know…
Saying this, he stood up, walked up to his sister and, bending down, kissed her on the forehead. His beautiful eyes shone with an intelligent and kind, unusual sparkle, but he looked not at his sister, but into the darkness of the open door, over her head.
- Let's go to her, we need to say goodbye. Or go alone, wake her up, and I’ll be right there. Parsley! - he shouted to the valet, - come here, clean it up. It's in the seat, it's on the right side.
Princess Marya stood up and headed towards the door. She stopped.
– Andre, si vous avez. la foi, vous vous seriez adresse a Dieu, pour qu"il vous donne l"amour, que vous ne sentez pas et votre priere aurait ete exaucee. [If you had faith, you would turn to God with a prayer, so that He would give you the love that you do not feel, and your prayer would be heard.]
- Yes, is that so! - said Prince Andrei. - Go, Masha, I’ll be right back.
On the way to his sister’s room, in the gallery connecting one house to another, Prince Andrei met the sweetly smiling Mlle Bourienne, who for the third time that day had come across him with an enthusiastic and naive smile in secluded passages.
- Ah! “je vous croyais chez vous, [Oh, I thought you were at home,” she said, for some reason blushing and lowering her eyes.
Prince Andrei looked at her sternly. Prince Andrei’s face suddenly expressed anger. He said nothing to her, but looked at her forehead and hair, without looking into her eyes, so contemptuously that the Frenchwoman blushed and left without saying anything.
When he approached his sister’s room, the princess had already woken up, and her cheerful voice, hurrying one word after another, was heard from the open door. She spoke as if, after a long period of abstinence, she wanted to make up for lost time.
– Non, mais figurez vous, la vieille comtesse Zouboff avec de fausses boucles et la bouche pleine de fausses dents, comme si elle voulait defier les annees... [No, imagine old Countess Zubova, with false curls, with false teeth, like as if mocking the years...] Xa, xa, xa, Marieie!
Prince Andrei had already heard exactly the same phrase about Countess Zubova and the same laugh five times in front of strangers from his wife.
He quietly entered the room. The princess, plump, rosy-cheeked, with work in her hands, sat on an armchair and talked incessantly, going over St. Petersburg memories and even phrases. Prince Andrei came up, stroked her head and asked if she had rested from the road. She answered and continued the same conversation.
Six of the strollers stood at the entrance. It was a dark autumn night outside. The coachman did not see the pole of the carriage. People with lanterns were bustling about on the porch. The huge house glowed with lights through its large windows. The hall was crowded with courtiers who wanted to say goodbye to the young prince; All the household were standing in the hall: Mikhail Ivanovich, m lle Bourienne, Princess Marya and the princess.
Prince Andrei was called into his father’s office, who wanted to say goodbye to him privately. Everyone was waiting for them to come out.
When Prince Andrei entered the office, the old prince, wearing old man's glasses and in his white robe, in which he did not receive anyone except his son, was sitting at the table and writing. He looked back.
-Are you going? - And he began to write again.
- I came to say goodbye.
“Kiss here,” he showed his cheek, “thank you, thank you!”
- What do you thank me for?
“You don’t hold on to a woman’s skirt for not being overdue.” Service comes first. Thank you, thank you! - And he continued to write, so that splashes flew from the crackling pen. - If you need to say something, say it. I can do these two things together,” he added.
- About my wife... I’m already ashamed that I’m leaving her in your arms...
- Why are you lying? Say what you need.
- When it’s time for your wife to give birth, send to Moscow for an obstetrician... So that he is here.
The old prince stopped and, as if not understanding, stared with stern eyes at his son.
“I know that no one can help unless nature helps,” said Prince Andrei, apparently embarrassed. – I agree that out of a million cases, one is unfortunate, but this is her and my imagination. They told her, she saw it in a dream, and she is afraid.
“Hm... hm...” the old prince said to himself, continuing to write. - I'll do it.
He drew out the signature, suddenly turned quickly to his son and laughed.
- It's bad, huh?
- What's bad, father?
- Wife! – the old prince said briefly and significantly.
“I don’t understand,” said Prince Andrei.
“There’s nothing to do, my friend,” said the prince, “they’re all like that, you won’t get married.” Do not be afraid; I won't tell anyone; and you know it yourself.
He grabbed his hand with his bony little hand, shook it, looked straight into his son’s face with his quick eyes, which seemed to see right through the man, and laughed again with his cold laugh.
The son sighed, admitting with this sigh that his father understood him. The old man, continuing to fold and print letters, with his usual speed, grabbed and threw sealing wax, seal and paper.
- What to do? Beautiful! I'll do everything. “Be at peace,” he said abruptly while typing.
Andrei was silent: he was both pleased and unpleasant that his father understood him. The old man stood up and handed the letter to his son.
“Listen,” he said, “don’t worry about your wife: what can be done will be done.” Now listen: give the letter to Mikhail Ilarionovich. I am writing to tell him to use you in good places and not keep you as an adjutant for a long time: it’s a bad position! Tell him that I remember him and love him. Yes, write how he will receive you. If you are good, serve. Nikolai Andreich Bolkonsky’s son will not serve anyone out of mercy. Well, now come here.
He spoke in such a rapid-fire manner that he did not finish half the words, but his son got used to understanding him. He led his son to the bureau, threw back the lid, pulled out the drawer and took out a notebook covered in his large, long and condensed handwriting.
“I must die before you.” Know that my notes are here, to be handed over to the Emperor after my death. Now here is a pawn ticket and a letter: this is a prize for the one who writes the history of Suvorov’s wars. Send to the academy. Here are my remarks, after me read for yourself, you will find benefit.
Andrei did not tell his father that he would probably live for a long time. He understood that there was no need to say this.
“I will do everything, father,” he said.
- Well, now goodbye! “He let his son kiss his hand and hugged him. “Remember one thing, Prince Andrei: if they kill you, it will hurt my old man...” He suddenly fell silent and suddenly continued in a loud voice: “and if I find out that you did not behave like the son of Nikolai Bolkonsky, I will be ... ashamed!” – he squealed.
“You don’t have to tell me this, father,” the son said, smiling.
The old man fell silent.
“I also wanted to ask you,” continued Prince Andrei, “if they kill me and if I have a son, do not let him go from you, as I told you yesterday, so that he can grow up with you... please.”
- Shouldn’t I give it to my wife? - said the old man and laughed.
They stood silently opposite each other. The old man's quick eyes were directly fixed on his son's eyes. Something trembled in the lower part of the old prince’s face.
- Goodbye... go! - he suddenly said. - Go! - he shouted in an angry and loud voice, opening the office door.
- What is it, what? - asked the princess and princess, seeing Prince Andrei and for a moment the figure of an old man in a white robe, without a wig and wearing old man’s glasses, leaning out for a moment, shouting in an angry voice.
Prince Andrei sighed and did not answer.
“Well,” he said, turning to his wife.
And this “well” sounded like a cold mockery, as if he was saying: “Now do your tricks.”
– Andre, deja! [Andrey, already!] - said the little princess, turning pale and looking at her husband with fear.
He hugged her. She screamed and fell unconscious on his shoulder.
He carefully moved away the shoulder on which she was lying, looked into her face and carefully sat her down on a chair.
“Adieu, Marieie, [Goodbye, Masha,”] he said quietly to his sister, kissed her hand in hand and quickly walked out of the room.
The princess was lying in a chair, M lle Burien was rubbing her temples. Princess Marya, supporting her daughter-in-law, with tear-stained beautiful eyes, still looked at the door through which Prince Andrei came out, and baptized him. From the office one could hear, like gunshots, the often repeated angry sounds of an old man blowing his nose. As soon as Prince Andrei left, the office door quickly opened and the stern figure of an old man in a white robe looked out.
- Left? Well, good! - he said, looking angrily at the emotionless little princess, shook his head reproachfully and slammed the door.

In October 1805, Russian troops occupied the villages and towns of the Archduchy of Austria, and more new regiments came from Russia and, burdening the residents with billeting, were stationed at the Braunau fortress. The main apartment of Commander-in-Chief Kutuzov was in Braunau.
On October 11, 1805, one of the infantry regiments that had just arrived at Braunau, awaiting inspection by the commander-in-chief, stood half a mile from the city. Despite the non-Russian terrain and situation (orchards, stone fences, tiled roofs, mountains visible in the distance), despite the non-Russian people looking at the soldiers with curiosity, the regiment had exactly the same appearance as any Russian regiment had when preparing for a review somewhere in the middle of Russia.
In the evening, on the last march, an order was received that the commander-in-chief would inspect the regiment on the march. Although the words of the order seemed unclear to the regimental commander, and the question arose how to understand the words of the order: in marching uniform or not? In the council of battalion commanders, it was decided to present the regiment in full dress uniform on the grounds that it is always better to bow than not to bow. And the soldiers, after a thirty-mile march, did not sleep a wink, they repaired and cleaned themselves all night; adjutants and company commanders counted and expelled; and by morning the regiment, instead of the sprawling, disorderly crowd that it had been the day before during the last march, represented an orderly mass of 2,000 people, each of whom knew his place, his job, and of whom, on each of them, every button and strap was in its place and sparkled with cleanliness . Not only was the outside in good order, but if the commander-in-chief had wanted to look under the uniforms, he would have seen an equally clean shirt on each one and in each knapsack he would have found the legal number of things, “sweat and soap,” as the soldiers say. There was only one circumstance about which no one could be calm. It was shoes. More than half the people's boots were broken. But this deficiency was not due to the fault of the regimental commander, since, despite repeated demands, the goods were not released to him from the Austrian department, and the regiment traveled a thousand miles.
The regimental commander was an elderly, sanguine general with graying eyebrows and sideburns, thick-set and wider from chest to back than from one shoulder to the other. He was wearing a new, brand new uniform with wrinkled folds and thick golden epaulettes, which seemed to lift his fat shoulders upward rather than downward. The regimental commander had the appearance of a man happily performing one of the most solemn affairs of life. He walked in front of the front and, as he walked, trembled at every step, slightly arching his back. It was clear that the regimental commander was admiring his regiment, happy with it, that all his mental strength was occupied only with the regiment; but, despite the fact that his trembling gait seemed to say that, in addition to military interests, the interests of social life and the female sex occupied a significant place in his soul.
“Well, Father Mikhailo Mitrich,” he turned to one battalion commander (the battalion commander leaned forward smiling; it was clear that they were happy), “it was a lot of trouble this night.” However, it seems that nothing is wrong, the regiment is not bad... Eh?
The battalion commander understood the funny irony and laughed.
- And in Tsaritsyn Meadow they wouldn’t have driven you away from the field.
- What? - said the commander.
At this time, along the road from the city, along which the makhalnye were placed, two horsemen appeared. These were the adjutant and the Cossack riding behind.
The adjutant was sent from the main headquarters to confirm to the regimental commander what was said unclearly in yesterday's order, namely, that the commander-in-chief wanted to see the regiment exactly in the position in which it was marching - in overcoats, in covers and without any preparations.
A member of the Gofkriegsrat from Vienna arrived to Kutuzov the day before, with proposals and demands to join the army of Archduke Ferdinand and Mack as soon as possible, and Kutuzov, not considering this connection beneficial, among other evidence in favor of his opinion, intended to show the Austrian general that sad situation , in which troops came from Russia. For this purpose, he wanted to go out to meet the regiment, so the worse the situation of the regiment, the more pleasant it would be for the commander-in-chief. Although the adjutant did not know these details, he conveyed to the regimental commander the commander-in-chief’s indispensable requirement that the people wear overcoats and covers, and that otherwise the commander-in-chief would be dissatisfied. Having heard these words, the regimental commander lowered his head, silently raised his shoulders and spread his hands with a sanguine gesture.
- We've done things! - he said. “I told you, Mikhailo Mitrich, that on a campaign, we wear greatcoats,” he turned reproachfully to the battalion commander. - Oh, my God! - he added and decisively stepped forward. - Gentlemen, company commanders! – he shouted in a voice familiar to the command. - Sergeants major!... Will they be here soon? - he turned to the arriving adjutant with an expression of respectful courtesy, apparently referring to the person about whom he was speaking.
- In an hour, I think.
- Will we have time to change clothes?
- I don’t know, General...
The regimental commander himself approached the ranks and ordered that they change into their overcoats again. The company commanders scattered to their companies, the sergeants began to fuss (the overcoats were not entirely in good working order) and at the same moment the previously regular, silent quadrangles swayed, stretched out, and hummed with conversation. Soldiers ran and ran up from all sides, threw them from behind with their shoulders, dragged backpacks over their heads, took off their greatcoats and, raising their arms high, pulled them into their sleeves.
Half an hour later everything returned to its previous order, only the quadrangles turned gray from black. The regimental commander, again with a trembling gait, stepped forward of the regiment and looked at it from afar.
- What else is this? What's this! – he shouted, stopping. - Commander of the 3rd company!..
- Commander of the 3rd company to the general! commander to the general, 3rd company to the commander!... - voices were heard along the ranks, and the adjutant ran to look for the hesitant officer.
When the sounds of diligent voices, misinterpreting, shouting “general to the 3rd company”, reached their destination, the required officer appeared from behind the company and, although the man was already elderly and did not have the habit of running, awkwardly clinging to his toes, trotted towards the general. The captain's face expressed the anxiety of a schoolboy who is told to tell a lesson he has not learned. There were spots on his red (obviously from intemperance) nose, and his mouth could not find a position. The regimental commander examined the captain from head to toe as he approached breathlessly, slowing his pace as he approached.
– You’ll soon dress people up in sundresses! What's this? - shouted the regimental commander, extending his lower jaw and pointing in the ranks of the 3rd company to a soldier in an overcoat the color of factory cloth, different from other overcoats. – Where were you? The commander-in-chief is expected, and you are moving away from your place? Huh?... I'll teach you how to dress people in Cossacks for a parade!... Huh?...
The company commander, without taking his eyes off his superior, pressed his two fingers more and more to the visor, as if in this one pressing he now saw his salvation.
- Well, why are you silent? Who's dressed up as a Hungarian? – the regimental commander joked sternly.
- Your Excellency…
- Well, what about “Your Excellency”? Your Excellency! Your Excellency! And what about Your Excellency, no one knows.
“Your Excellency, this is Dolokhov, demoted...” the captain said quietly.
– Was he demoted to field marshal or something, or to soldier? And a soldier must be dressed like everyone else, in uniform.
“Your Excellency, you yourself allowed him to go.”
- Allowed? Allowed? “You’re always like this, young people,” said the regimental commander, cooling down somewhat. - Allowed? I’ll tell you something, and you and...” The regimental commander paused. - I’ll tell you something, and you and... - What? - he said, getting irritated again. - Please dress people decently...
And the regimental commander, looking back at the adjutant, walked towards the regiment with his trembling gait. It was clear that he himself liked his irritation, and that, having walked around the regiment, he wanted to find another pretext for his anger. Having cut off one officer for not cleaning his badge, another for being out of line, he approached the 3rd company.
- How are you standing? Where's the leg? Where's the leg? - the regimental commander shouted with an expression of suffering in his voice, still about five people short of Dolokhov, dressed in a bluish overcoat.
Dolokhov slowly straightened his bent leg and looked straight into the general’s face with his bright and insolent gaze.
- Why the blue overcoat? Down with... Sergeant Major! Changing his clothes... rubbish... - He didn’t have time to finish.

The history of the group begins in 1998 in St. Petersburg, where by that time the group leader, vocalist Max Ivanov, Artem Bespalov (flute, keys) were studying at the Conservatory. Common interests led the young people to the fact that already in the fall of the same year the group TORBA-on-KRUCHE, which united professional musicians, made its debut on the St. Petersburg stage. TORBA's first concert was held at the Moloko club very successfully, followed by active concert activity and the first positive reviews in the press.

In the summer of 2001, TORBA-na-KRUCHE signed a contract with the Bomba-Piter company (publishing house Manchester Files) and recorded their debut album Nepsikh, the sound engineer and sound producer of which was Andrey Alyakrinsky (TEQUILAJAZZZ), known for working with such popular bands , like CHAIF, MARKSHEIDER KUNST, LENINGRAD, etc. The song “From the Rain” immediately gained a foothold in the “Chart Dozen” on “OUR Radio”. After which another song from the same album, “INTERNET,” also got into rotation on many radio stations in the country. A video was shot for it by Moscow director Kirill Kuzin, which is aired on the MTV-Russia channel. The respected music portal "Nepopsa" calls the group "Torba-na-Kruche" the discovery of 2001.

The natural melodic gift and stage charm of the group leader Max IvAnov are significantly supported by the high professional level of the other members of TORBA-on-KRUCHE.

“Torba-na-Kruche” approached its 5th anniversary (2003) with significant baggage. Over the past three years of active concert activity, "Torba" gave 243 concerts in 23 cities of Russia, including, in addition to Moscow and St. Petersburg, Pskov, Yekaterinburg, Saratov, Kursk, Volgograd, Kazan, Yaroslavl, Izhevsk, Orenburg, and the distant city of oil workers Noyabrsk , Tyumen, Smolensk, Rostov-on-Don, Sochi and the hometown of vocalist Max IvAnov Kirov. At all these concerts, Max Ivanov broke 120 sets of acoustic guitar strings, and the drummer broke 70 pairs of drumsticks. Over the years, the group has published 29 songs (much more were recorded), of which two are duets (the song “Numbers” with Evgeny Fedorov and “Draw” with ex-Tatu producer Lena Kiper). The group also participated in two tributes - to the groups "Civil Defense" (song "Bullet-Fool") and "Picnic" (song "Ieroglyph"). There are three video clips in rotation on the channels (“Internet”, “Winter”, “What is unclear”). "Torba" took part in more than 40 festivals. There are 5 officially registered fan clubs throughout the country: “Nepsikh”, “Exception”, “Exception to the Rules”, “Ukrainian Fan Club” and “Eternal Children”.

In February 2004, the group's first performances in Europe took place. These were two concerts in the large Finnish cities of Turku and Helsinki, which laid a solid foundation for future tours. And already in the summer of the same year, having received a grand from the Council of Ministers of the Nordic Countries, as a talented rock band, Torba na Kruche played a concert in Stockholm (Sweden). Today Torba already has trips planned to Iceland and Norway.

On April 5, 2004, Nikitin Records released the group’s second album, “Hour of Time.” The new album "Torby-na-Kruche" includes both old songs ("Flashlight", "Winter", "Talk to Me", "Hello, come in"), and completely new ones ("Cannibalist", "Love, goodbye ", "Whose is He").

In August of this year, the new composition “Torby-na-Kruche” PERSONAL LIFE immediately entered the hit parade of Our radio “Chart Dozen”. It is this song that the group plans to include in the reissue of their second record this fall. In parallel with this, the Composer Publishing House released the sheet music of 11 songs by the group “Torba-na-Kruche” in the “The Best of Russian Rock” series.

Biography. Torba's biography on the coolest most famous song

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Composition of the group

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1998 - debut concert

2001 - discovery of the year

2004 - concerts in Europe

2005 - 56th parallel

2008 - It doesn’t happen like that

2010 - present - Triptych and beyond

Composition of the group

Current composition

Musicians participating in the group

Discography

Videography

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