The fire swirls in the cramped stove when it is written. A is written in the dugout

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SONG "IN THE DUGOUT". SELECT BATTLE (BURST)

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SONG "IN THE DUGOUT". TEXT

About your smile and eyes.

The bushes whispered to me about you

I want you to hear

You're far, far away now
There is snow and snow between us...
It's not easy for me to reach you,
And there are four steps to death.

Sing, harmonica, in spite of the blizzard,
Call lost happiness!
I feel warm in a cold dugout
From my unquenchable love.

The last two lines are repeated twice

SONG "IN THE DUGOUT". AUTHORS

Soviet composer Konstantin Yakovlevich Listov (1900-1983)

KONSTANTIN LISTOV

Konstantin Yakovlevich Listov was born on October 2 (September 19, old style) 1900 in Odessa into a family of circus performers. In the circus, the future composer acquired his first musical skills, learning to play the mandolin and performing in the circus arena. In 1917, Listov graduated from Tsaritsino School of Music in piano class with A. Raniec, and in 1922 - the Saratov Conservatory in composition classes with L. Rudolf and piano with I. Rosenberg. From 1919 to 1923, the composer worked as a pianist, and later as a conductor of the Saratov Theater of Miniatures. In 1923, Listov moved to Moscow and began working in the theater at the All-Russian Proletkult. From 1934 to 1938, the composer held the position of conductor of the Review Theater, and from 1938 to 1940 - of the Theater of Classical Buffoonery under the direction of V. Bebutov. During the war years (1941-1945), Konstantin Yakovlevich worked as a music consultant for the Political Directorate of the Navy. Konstantin Listov has written two operas, eleven operettas, music for performances, orchestral and instrumental works, but the main sphere of his work is song. Among the most popular songs the composer can be called “Song about the Cart” (lyrics by M. Ruderman, 1937), “In Chair Park” (lyrics by P. Arsky, 1939), “If you love, find it” (lyrics by L. Oshanin, 1940), “In the dugout” (words by A. Surkov, 1942), “Sevastopol Waltz” (words by G. Rublev, 1955). During the war, Listov was awarded the Order of the Red Star and medals, and in 1973 he was awarded the title People's Artist RSFSR. Konstantin Yakovlevich Listov died on September 6, 1983. He was buried in Moscow at the Kuntsevo cemetery.

Soviet poet Alexey Alexandrovich Surkov (1899-1983)

ALEXEY SURKOV

Alexey Alexandrovich Surkov was born on October 13 (October 1, old style) 1899 in the village of Serednevo, Rybinsk district, Yaroslavl province, into a peasant family. After studying for some time at the Serednevskaya school, he went to work in St. Petersburg. From the age of 12 he worked as an apprentice in a furniture store, in carpentry workshops, in a printing house, in an office and as a weigher in the Petrograd commercial port. In 1918 he volunteered for the Red Army. In the same year, his first poems were published in the Petrograd Krasnaya Gazeta. After Civil War returned to native village and began working as an employee of a reading hut in the neighboring village of Volkovo (1922-1924). From 1924 to 1926, Surkov worked as the first secretary of the Rybinsk Komsomol organization, from 1926 to 1928 - editor-in-chief of the provincial newspaper "Northern Komsomolets". After I All-Union Congress proletarian writers, of which the poet was elected as a delegate, Surkov remained in Moscow, studied at the Faculty of Literature at the Institute of Red Professorships (1931-1934), taught at the Editorial and Publishing Institute and the Literary Institute of the Union of Writers of the USSR (1934-1939), and was deputy editor of the Literary studies". During the Great Patriotic War Surkov worked as a war correspondent for the front-line newspapers “Krasnoarmeyskaya Pravda”, “Red Star” and “Battle Onslaught”. In the post-war period, the poet worked as the executive editor of the magazine "Ogonyok" (1945-1953), rector Literary Institute them. A. M. Gorky (1950s), editor-in-chief of the Brief literary encyclopedia"(since 1962). Over the years creative activity Alexey Surkov released a dozen and a half poetry collections, however, he gained greatest fame as a songwriter. Among the songs based on his poems one can name such songs as “Chapaevskaya”, “Those are not clouds, thunderclouds”, “Early, early”, “In the vastness of the wonderful Motherland”, “Beating in cramped stove fire..." (“In the dugout”), “Cavalry”, “Song of the Brave”, “March of the Defenders of Moscow”, etc. The poet has the title of Hero of Socialist Labor (1969) and laureate of two Stalin Prizes (1946 and 1951). Alexey Alexandrovich Surkov died on June 14, 1983. He was buried in Moscow at the Novodevichy cemetery.

SONG "IN THE DUGOUT". HISTORY OF CREATION

Alexey Surkov and his letter, which will become the song “In the Dugout”

This song was immediately, unconditionally accepted - both by the heart of the soldier and by the hearts of those who were waiting for him. But the poem from which it was born appeared, in general, by accident, and was not even intended for publication. It’s just that the poet Alexei Surkov wrote sixteen “homely” lines to his wife from the front. I wrote it in '41, at the end of November, near Istra, after a very difficult day when I had to fight my way out of encirclement with the headquarters of one of the guards regiments.

So these verses would have remained part of the letter if in February 1942 the composer Konstantin Listov had not come to the front-line editorial office and asked for “something to write a song on.” “Something” was missing. And then Surkov, fortunately, remembered the poems sent home, found them in a notebook and, having copied them completely, gave them to Listov, being quite confident that, although he had cleared his comradely conscience, the songs from this absolutely lyric poem will not work. Listov ran his eyes over the lines, mumbled something vague under his breath and left.

A week later he appeared at the editorial office again, asked photographer Misha Savin for a guitar and sang:

Beats in tight fire in the stove,
There is resin on the logs, like a tear.
And the accordion sings to me in the dugout
About your smile and eyes.

Everyone who was free from work on releasing the issue listened with bated breath. And when Listov left, Savin asked Surkov for the text and, accompanying himself on the guitar, sang new song. And it immediately became obvious that the song would “go” - after all, the “ordinary consumer of music” remembered the melody from the very first performance.

The song really went. On all fronts - from Sevastopol to Leningrad and Polyarny. True, some guardians of front-line morality thought that the lines: “It’s not easy for me to get to you, but there are four steps to death” - decadent, “disarming.” They asked and even demanded that death be crossed out or moved further away from the trench. But it was too late to spoil the song, it “went”... They found out at the front that they were “playing tricks” with it, and one day Surkov received a letter from six tank guardsmen. The tankers wrote: “We heard that someone doesn’t like the line “four steps to death.” Write for these people that death is four thousand English miles, and leave us as it is, we know how many steps it is to death.”

And there was another incident that Olga Berggolts recalls. One day she came to the cruiser Kirov. In the wardroom, the officers were listening to a radio broadcast, and suddenly “Dugout” sounded with an “improved” version of the text. There were shouts of protest, and, turning off the loudspeaker, people demonstratively sang the song three times as they had sung it before.

Of course, it was not by chance that Surkov’s purely personal lines became the most popular war song, one of the highest lyrical successes of all front-line poetry. Already from the first days of the Great Patriotic poet I felt: a soldier’s heart is looking not only for a slogan and appeal, but also for a gentle, quiet word in order to unload from the overload of all the terrible things that cruel reality has brought down on it. It is no coincidence that next to the forged lines: “ There's a war going on people’s, holy war” - in the soldier’s heart there lived, in general, a not very skillful song about a blue handkerchief. And the poet responded to this call of the heart. But there is another secret of the exceptional spiritual affection of millions of fighters for such poems as Simonov’s “Wait for Me”, for such songs as Surkov’s “Dugout”. This secret is in the absolute trust of the lyrical confession, which attracted millions of hearts who completely accepted the lines of the song as an expression of their own feelings - the most hidden and the most sacred:

The bushes whispered to me about you
In snow-white fields near Moscow.
I want you to hear
How my living voice yearns.

People perceived not only the meaning of the poem, but also all the heat of the heart, the pulsation of blood, excitement, hope, love put into it...

That is why if former front-line soldiers sing about the dugout, then even today they do not spare their hearts for this song and are not ashamed of tears.

Composition

The song “Fire is beating in a small stove” can be called, perhaps, one of the most famous songs Great Patriotic War. It has long been popular, and few people know that both the words and the music of this work are purely original: the words belong to the poet and front-line correspondent Alexander Surkov, and the music belongs to the composer Konstantin Listov.

Surkov created his poem, which, by the way, he gave the title “In the Dugout,” in November 1941, while on the Western Front. At the beginning of the work there is a dedication to a specific person - the poet’s beloved Sophia Krevo. A little later, in February 1942, Surkov handed over the poem to the composer Listov, who very quickly set this work to music. The result was a song that gained extraordinary popularity in the Red Army:

About your smile and eyes.

The bushes whispered to me about you

I want you to hear

You're far, far away now

There is snow and snow between us...

It's not easy for me to reach you,

And there are four steps to death.

Sing, harmonica, in spite of the blizzard,

Call lost happiness.

From my unquenchable love.

I feel warm in a cold dugout

From my unquenchable love.

What is the secret of this seemingly simple song? In my opinion, her most important virtue is sincerity. Reading this work even now, 65 years after the Great Patriotic War, you experience involuntary excitement and trepidation. And what can we say about the soldiers of that time, each of whom experienced something similar to what the lyrical hero sings about?

This song touches the most important strings in the soul of any person. It is about the eternal - about life and death, about fear and about strength, about love, which is the only one capable of inspiring, protecting, saving.

The first stanza is introductory. She outlines the “scene of action.” We understand that the hero is sitting in a dugout after the battle, surrounded by his comrades. And here, in a rare moment of rest, he thinks about the most important thing - about his beloved, he misses her unbearably:

The fire is beating in the small stove,

There is resin on the logs, like a tear.

And the accordion sings to me in the dugout

About your smile and eyes.

The fire beats in the oven - a symbol of life, light, warmth, love. But the fire barely warms the hero - his rest is “seasoned” with sadness and bitterness. The comparison “On the logs there is resin like a tear” tells us this. The hero is immersed in memories of his beloved: “And the accordion sings to me in the dugout about your smile and eyes.”

He always thinks about her - the power of the hero’s love is so great:

The bushes whispered to me about you

In snow-white fields near Moscow.

I want you to hear

In the most difficult and terrible moments of the war lyrical hero Only the memories of the woman I loved saved me: “The bushes whispered to me about you in the snow-white fields near Moscow.” He misses her unbearably: for warmth, affection, joy - for a peaceful life.

You're far, far away now

There is snow and snow between us...

It's not easy for me to reach you,

And there are four steps to death.

Thus, the hero’s beloved becomes the personification of all that is alive and beautiful - what every person so needs. And in the poem she is contrasted with evil, destruction, death: “It’s not easy for me to get to you, And to death there are four steps.”

This metaphorical image- “four steps to death” - became a textbook, “identifying” passage of this work. This probably happened because the image was close to everyone at that time, especially to those who were at the front. He expressed his deepest fears - being killed, not living to see victory, never again experiencing the happiness of a peaceful life.

But the hero is not going to give up. In spite of everything, he is sure that he will fight to the last - in spite of his enemies, fear, melancholy:

Sing, harmonica, in spite of the blizzard,

Call lost happiness.

I feel warm in a cold dugout

From my unquenchable love.

The image of a blizzard symbolizes all this. It seems to the soldier that his happiness is “lost” somewhere, but this is not for long. After all, he has the most important thing - “unquenchable love”, which warms him, supports him, gives him strength to fight and win.

I feel warm in a cold dugout

From my unquenchable love.

He strives to focus on these words because they are the main ones. And here they acquire universal humanity, philosophical meaning: love is what always saves a person, supports him in the most difficult situation. Love for a woman, for parents, for one’s homeland. This is the strongest creative force in which lies the meaning of life.

I think people who went through the Great Patriotic War can believe in this. No matter what, we need to keep love in our hearts, and for this, as they say in the holy books, we will be rewarded.

“In the Dugout” is a Soviet song from the Great Patriotic War. Music by Konstantin Listov, poetry by Alexey Surkov.

A memorial sign was erected in 1998 on the site of a dugout in which in November 1941, front-line correspondent and poet Alexei Surkov wrote poems that later became the words of the song “In the Dugout” in the village of Kashino, Istrinsky district, Moscow region.

“The poem from which this song was born arose by accident,” Surkov recalled. - It wasn't going to be a song. And it didn’t even pretend to become a published poem. These were sixteen “homely” lines from a letter to his wife, Sofya Antonovna. The letter was written at the end of November, after one very difficult front day near Istra, when we had to fight our way out of encirclement at night after a heavy battle with the headquarters of one of the guards regiments..."

Meticulous researchers of the poet's work accurately name the day when that memorable battle took place on the outskirts of Moscow - November 27, 1941, and the part in which the correspondent of the newspaper "Krasnoarmeyskaya Pravda" found himself and took the battle. Western Front, battalion commissar Alexey Surkov, 258th regiment of the 9th Guards Rifle Division.

Boris Nemensky. About distant and close ones. (1950).

After all the troubles, frozen, tired, in an overcoat cut by shrapnel, Surkov sat for the rest of the night over his notebook in the dugout, next to the soldier’s iron stove. Maybe it was then that his famous “Dugout” was born - a song that was included in folk memory as an integral companion of the Great Patriotic War..."

“These verses would have remained part of the letter,” he continues his memoirs, “if somewhere in February 1942, composer Konstantin Listov, appointed senior musical consultant to the Main Political Directorate of the Navy, had not arrived from evacuation. He came to our front-line editorial office and began asking for “something to write a song on.” There was no “anything”.

Vasil Irina. Dugout.

And then, fortunately, I remembered the poems I had written home, found them in a notebook and, having copied them out completely, gave them to Lisztov, being absolutely sure that although I had cleared my comrade’s conscience, a song would not come out of this absolutely lyrical poem. Listov ran his eyes along the lines, mumbled something vague and left. He left and everything was forgotten.

But a week later the composer appeared again at our editorial office, asked the photographer Savin for a guitar and sang his new song “In the Dugout” with the guitar. Everyone free from work “in the room” listened to the song with bated breath. Everyone thought that the song “came out.” Listov left. And in the evening, after dinner, Misha Savin asked me for the lyrics and, accompanying himself on the guitar, sang a new song. And it immediately became clear that the song would “go” if an ordinary music consumer remembered the melody from the first performance...”

The “premiere” of the song at the editorial office of Frontovaya Pravda was also attended by the writer Evgeny Vorobyov, who then worked at the newspaper. Immediately after “Dugout” was performed, he asked Listov to record its melody. There was no music paper at hand. And then Lisztov, as he had to do more than once in those conditions, lined an ordinary sheet of paper and wrote down the melody on it.

On March 25, 1942, the song “In the Dugout” was first published in Komsomolskaya Pravda - words and melodic line. It just so happened that this publication turned out to be almost the only one in the first years of the war. The fact is that some “guardians of front-line morality” considered the lines “It’s not easy for me to get to you, but there are four steps to death” as decadent and disarming. They demanded to cross them out, replace them with others, and “move” death “further from the trench.” But to change anything, i.e. to spoil the song, it was too late, it, as they say, “went.” But it is known: “you can’t erase words from a song.”

From Surkov’s memoirs it follows that it was not he who made changes to the lyrics of the song (there is a statement that this was done by Konstantin Simonov). Olga Berggolts told Surkov about the indignation that this replacement caused among front-line soldiers. The poet himself received a letter from the front-line soldiers with the following request: “Write for these people that there are four thousand English miles to death, but leave us as it is, because we know how many steps there are to death.”

Nikolai Booth. Letter to mom. 1970

The tireless propagandists of “Dugout” during the war years were the wonderful Soviet song masters Leonid Utesov and Lidiya Ruslanova. Lidia Andreevna recorded it in August 1942 on a gramophone record along with “The Blue Handkerchief”. She was adored by Yuri Nikulin, who once performed the song with his fellow soldiers.

After the war, in 1946, Alexey Surkov received Stalin Prize first degree, including for his poems “Fire beats in a cramped stove...”. And in May 1999, in the village of Kashino, Moscow region, the guys from the ISTOK club in the city of Istra erected a memorial sign, the opening of which was attended by veterans of the 9th Guards Division and the poet’s daughter, Natalya Alekseevna Surkova. Military song festivals are held in the Istra district, and in the city of Dedovsk a song and poetry festival named after Alexei Surkov “And an accordion sings to me in the dugout” was held.

Marat Samsonov. In a moment of calm. 1958

The fire is beating in the small stove,
There is resin on the logs, like a tear,
And the accordion sings to me in the dugout
About your smile and eyes.

The bushes whispered to me about you
In snow-white fields near Moscow.
I want you to hear
How my living voice yearns.

You are far, far away now.
Between us there is snow and snow.
It's not easy for me to reach you,
And there are four steps to death.

Sing, harmonica, in spite of the blizzard,
Call lost happiness.
I feel warm in a cold dugout
From my unquenchable love.

Often the last line of the song is sung as “From your undying love.”

I. Evstigneev. In the dugout. Harmonic. 1945

During the war, in some performances, the lyrics of the song looked completely different: after the first two verses (without changes), not two, but four followed:

You are now far, far away.
There is snow and snow between us.
It’s not easy for me to reach you -
And there are four steps to death.

Sing, harmonica, to spite the wind,
Call lost happiness.
It became warm in our dugout
From my unquenchable love.

I am the love that is in the soul, like a beacon
I will carry you through melancholy and battles,
To see my dear,
Your tears are happy to me.

And the harmonica, as if in response
Sings a song of joyful meeting,
It's like you're sending hello
It's like you're whispering my name.

On October 13, 1899, front-line poet Alexei Surkov was born. Many of his poems became popular songs.

For example, the song “In the Dugout,” which begins with the words “The fire is beating in the cramped stove,” was born from a letter that the poet wrote from the front to his wife at the end of November 1941. These were sixteen, as they say, “homemade” poetic lines that Surkov did not intend to publish. They would have remained part of the letter if in February 1942 the composer Konstantin Listov had not come to the front-line editorial office and asked to give him “something to write a song on.” And Surkov remembered his letter. This is how the song “In the Dugout” was born, which very quickly spread on all fronts - from Sevastopol to Leningrad.

True, some guardians of front-line morality thought that the lines “...it’s not easy for me to get to you, but there are four steps to death” - decadent, disarming. They asked and even demanded that death be crossed out or moved further from the trench. But Surkov was sorry to change the words - they very accurately conveyed what was experienced and felt in battle, and it was too late to spoil the song, the soldiers were already singing it. And, as you know, “you can’t erase a word from a song.”

The warring people found out that something was being done with the song. Surkov’s army archive contains a letter signed by six tank guardsmen. Having said kind word Addressing the song and its authors, the tankers wrote that they heard that someone didn’t like the line “there are four steps to death.” The guards expressed a caustic wish: “Write for these people that there are four thousand English miles to death, but leave us as it is - we know how many steps there are to death”...

The history of the creation of the song "In the Dugout"

“The poem from which this song was born arose by accident. It wasn't going to be a song. And it didn’t even pretend to become a published poem. These were sixteen “homely” lines from a letter to his wife, Sofya Andreevna. The letter was written at the end of November, after one very difficult day at the front for me near Istra, when at night after a heavy battle we had to fight our way out of encirclement with the headquarters of one of the guards regiments... So these verses would have remained part of the letter, if it had already been somewhere In February 1942, composer Konstantin Listov, appointed senior music consultant of the Navy, did not return from evacuation. He came to our front-line editorial office and began asking for “something to write a song on.” “Something” was missing. And then, fortunately, I remembered the poems I had written home, found them in a notebook and, having copied them outright, gave them to Lisztov, being absolutely sure that although I had cleared my comrade’s conscience, a song would not come out of this absolutely lyrical poem. Listov ran his eyes over the lines, mumbled something vague and left. He left and everything was forgotten.

But a week later the composer appeared again at our editorial office, asked the photographer Savin for a guitar and sang his new song “In the Dugout” with the guitar.

Everyone free from work “in the room” listened to the song with bated breath. Everyone thought that the song “came out.” And in the evening, after dinner, Misha Savin asked me for the lyrics and, accompanying himself on the guitar, sang a new song. And it immediately became clear that the song would “go” if an ordinary music consumer remembered the melody from the first performance.

Alexey SURKOV

“The enemy was rushing east through Kashino and Darna along the road parallel to the Volokolamsk highway; fascist tanks broke through onto the road and cut off the regimental headquarters, located in the village of Kashino, from the battalions. It was necessary to break out of the encirclement. All staff workers had to take up arms and grenades. He became a fighter and a poet. Brave, decisive, he rushed into the thick of battle. The old, brave soldier passed the combat test with honor, together with the regiment headquarters he escaped from the enemy encirclement and ended up... in a minefield. It was truly “four steps to death”, even less...

After all the troubles, frozen, tired, in an overcoat cut by shrapnel, Surkov sat for the rest of the night over his notebook in the dugout, next to the soldier’s iron stove. Perhaps it was then that his famous “Dugout” was born - a song that entered the people’s memory as an integral companion to the Great Patriotic War.”

A. P. BELOBORODOV, Army General, twice Hero of the Soviet Union

In the dugout

Poems by A. SURKOV, Music by K. LISTOV

The fire is beating in the small stove,
There is resin on the logs, like a tear.
And the accordion sings to me in the dugout
About your smile and eyes.

The bushes whispered to me about you
In snow-white fields near Moscow.
I want you to hear
How my living voice yearns.

You're far, far away now
Between us there is snow and snow.
It's not easy for me to reach you,
And there are four steps to death.

Sing, harmonica, in spite of the blizzard,
Call lost happiness.
I feel warm in a cold dugout
From my unquenchable love.