Forever young. Cause of death of Tatyana Snezhina Plans for the future

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Tatyana Valerievna Snezhina (real name - Pechenkina; May 14, 1972, Voroshilovgrad, Ukrainian SSR, USSR - August 21, 1995, 106th kilometer of the Barnaul-Novosibirsk highway, Russia) - poet, composer and singer.

She was born in Ukraine in the city of Voroshilovgrad (now Lugansk), in a military family. At the age of three months, with her parents, due to the nature of her father’s service, she went to live in Kamchatka. She studied at the music school and secondary school in Petropavlovsk-Kamchatsky No. 4 named after. L. N. Tolstoy. In 1982, she and her family moved to live in Moscow. She studied at school No. 874, was a social activist and a member of the school drama club. She entered the 2nd Moscow Medical Institute (MOGMI). Since 1992, due to her father’s business trip, she lived with her parents in Novosibirsk. She entered and studied at the Novosibirsk Medical Institute.

The beginning of creativity

She began writing music and poetry during her school years. She drew and sang. The first success was informal - homemade “music albums” recorded at home were distributed among Moscow students, and then Novosibirsk students. The same fate awaited the poems and prose typed by the author. In 1994, T. Snezhina recorded phonograms of 22 original songs from her first album, “Remember with Me,” in the KiS-S studio in Moscow. In the same year, she made her debut at the Variety Theater in Moscow, and the first program about her work was broadcast on Radio Russia. In Novosibirsk he wins several song competitions in the city and region.
It was difficult for Snezhina to come up with new songs; the work was carried out painstakingly and carefully. Some songs took 2-3 months to record. The work went on, and Tanya’s style changed a little, the studio’s approach to her work changed. As one of the arrangers later recalled: “We tried for too long to bring Tanya’s songs up to world standards and suddenly realized that this was impossible. What she writes does not need any serious processing, everything she writes should sound almost in untouched form because this is what we were waiting for, looking for and could not find for a long time...". While looking for ways to release her solo album and record new songs in Novosibirsk, she met Sergei Bugaev, a former Komsomol worker who contributed greatly to the development of underground rock music in the 1980s. Since the early 1990s, the director of the Studio-8 youth association has been trying to promote “pop music with a human face,” which Tatyana Snezhina joined. In addition to the creative ones, close personal relationships were also established between the young people; in May 1995, Tatiana was proposed to marry her, and their wedding was supposed to take place in the fall.

Death

In August 1995, Tatyana and Sergei were engaged, and their wedding was supposed to take place a month later. Snezhina’s album was recorded at Studio-8, the release of which was planned for the same fall. On August 18, 1995, a presentation of a new production project took place, at which Tatyana performed two of her own romances, “My Star” and “If I Die Before Time,” with the guitar.

If I die before my time,
Let the white swans carry me away
Far, far away, to an unknown land,
High, high, into the bright sky...

Tatiana Snezhina

On August 19, 1995, Bugaev borrowed a Nissan minibus from friends and went with his friends to the Altai Mountains to buy honey and sea buckthorn oil. He took Tatyana with him.

Two days later, on August 21, 1995, on the way back, at the 106th kilometer of the Cherepanovskaya highway Barnaul-Novosibirsk, a Nissan minibus collided with a MAZ truck. As a result of this traffic accident, all six passengers of the minibus died without regaining consciousness:
singer Tatyana Snezhina, director of the Pioneer MCC Sergei Bugaev, candidate of sciences Shamil Faizrakhmanov, director of the Mastervet pharmacy Igor Golovin, his wife, doctor Golovina Irina and their five-year-old son Vladik Golovin.

There are two main versions of the disaster. According to one of them, Nissan went to overtake and, due to the right-hand steering wheel, did not notice a truck rushing towards it (that day one of the punctured wheels was replaced with a spare wheel). According to another version, the MAZ itself suddenly braked sharply, and its trailer skidded into the oncoming lane (it had rained shortly before the accident).

Creation. Heritage

During her life she wrote more than 200 songs. Thus, the most famous song performed by Alla Pugacheva “Call me with you” belongs to the pen of Tatyana, but Alla Borisovna sang this song after the tragic death of the poet and performer in 1997. This event served as the starting point for writing poems dedicated to Tatyana Snezhina. Since 1996, other pop stars begin to sing her songs: // I. Kobzon, K. Orbakaite, Lolita Milyavskaya, T. Ovsienko, M. Shufutinsky, Lada Dance, L. Leshchenko , N. Trubach, Alisa Mon, T. Bulanova, E. Kemerovsky, Asker Sedoy and others. Numerous musical compositions based on her music in the dance rhythms of house and hip-hop styles are popular. Her music is heard in films.

Despite the fact that Snezhina wrote more than 200 songs, her poetry, thanks to its internal melody, inspires many composers to write new songs based on the poems of this author (E. Kemerovo, N. Trubach, etc.). Currently, the repertoires of performers in Russia, Ukraine, and Japan include more than two dozen new songs based on Snezhina’s poems.

In 1997, 1998, 1999 and 2008, T. Snezhina posthumously became the laureate of the Song of the Year award. There is an award named after Tatyana Snezhina - “Silver Snowflake” for her contribution to helping young talents. One of the first to receive this statuette was Alla Pugacheva.

In 2008, a literary prize was established in Ukraine by the Interregional Union of Writers of the Country named after. Tatiana Snezhina and the corresponding commemorative medal. Every year, the best songwriters are nominated for this award.

In Kazakhstan, the peak of the Dzhungar Alatau mountain range is named after Tatyana Snezhina. The peak was first conquered as a result of a targeted expedition by a group of young Russian climbers.

In 2006, at school No. 97 (formerly school No. 874) in Moscow, where Tatyana Snezhina studied from 1981-1989, the “Literary and Musical Museum in Memory of T. Snezhina” was opened by the teaching staff, on the basis of an official decision of the Moscow government. .

In Ukraine, in the city of Lugansk, in 2010, by decision of the authorities, a bronze monument to Tatyana Snezhina was erected in the city center. The author of the sculpture is E. Chumak.
Ukraine. Lugansk.

In 2008, a large-scale regional television competition for young pop song performers “Ordynka” was established and held annually in Novosibirsk, dedicated to the memory of T. Snezhina and S. Bugaev. Contestants come from all over Russia and the competition is held in several stages, widely covered by the press and television. Traditionally, one of the stages of the festival is the performance of T. Snezhina’s songs.

In Novosibirsk in 2011, one of the new streets was named in honor of Tatyana Snezhina.

Since 2012, the Novosibirsk Cycling Club “Rider” has been holding an annual “Bike Ride in Memory of Tatyana Snezhina” along the route Novosibirsk - 116 km. Cherepanovskaya highway (place of death of the poetess).

Since 2012, the annual “International Festival of School Creativity in Memory of Tatyana Snezhina” has been held in Moscow on the date dedicated to the poetess’s birthday.

On May 14, 2013, in Novosibirsk, on Tatyana Snezhina Street, on the initiative of the author’s fans, by decision of the city authorities, a five-meter bronze stele dedicated to this poetess and composer was installed. The authors of the sculpture are the main artist of Novosibirsk Yuri Burika and Tomsk sculptor Anton Gnedykh. The stela in the form of a stylized sail-harp with the silhouette of a young poetess perpetuates not only the image of T. Snezhina herself, but also one of her famous works - in the foreground of the composition there is a bronze stave with the first notes of the song “Call me with you.”

In the 21st century, Tatyana Snezhina has become one of the most popular and best-selling poetic authors in Russia. The circulation of her books has crossed the hundred thousand mark.

Take me with you

Poems and music by Tatyana Snezhina.

Again from me the wind of evil changes
It takes you away
Without leaving me even a shadow in return,
And he won't ask, -
Maybe I want to fly away with you
Yellow autumn leaves,
A bird behind a blue dream.

Call me with you,
I'll come through the evil nights
I'll go after you
Whatever the path prophesies for me,
I'll come where you are
Draw the sun in the sky
Where are the broken dreams
They regain the power of heights.

How many years have I been looking for you?
in the crowd of passers-by,
I thought you'd be with me forever,
But you're leaving
Now you won't recognize me in the crowd,
Only, as loving as before, I let you go.

Call me with you,
I'll come through the evil nights
I'll go after you
Whatever the path prophesies for me,
I'll come where you are
Draw the sun in the sky
Where are the broken dreams
They regain the power of heights.

Every time night falls
To the sleeping city,
I'm running away from the sleepless house
In sadness and cold,
I'm looking for you among faceless dreams,
But at the door of a new day,
I'm going again without you.

Call me with you,
I'll come through the evil nights
I'll go after you
Whatever the path prophesies for me,
I'll come where you are
Draw the sun in the sky
Where are the broken dreams
They regain the power of heights.

If I die before my time,
You give me to the white swans,
Between the feathers of their wings I will get entangled
And I will rush off with them into my dream.

And there is no need to call a priest to my house,
And there’s no need to perform my funeral service in church.
Let the free winds sing for me,
They will sing to my destitute soul.

Well, my body is empty
Cover it with damp earth,
Yes, give him, unbaptized,
Cross, so that I may be forgiven by God.

Don't put flowers on my grave,
Let it be overgrown with lush grass.
Let the forget-me-nots bloom in the spring,
Yes, winter will fall with white snow.

If I die before my time,
Let the white swans carry me away,
Far, far into an unknown land,
High, high into the bright sky...

The purpose of this article is to find out how the tragic death in a car accident of the talented poetess, composer and singer TATYANA SNEZHINA is included in her FULL NAME code.

Watch "Logicology - about the fate of man" in advance.

Let's look at the FULL NAME code tables. \If there is a shift in numbers and letters on your screen, adjust the image scale\.

16 22 46 53 67 78 88 102 103 122 123 142 171 203 217 218 221 222 234 240 257 286 292 295 309 310
P E C H E N K I N A T A T YA N A V A L E R E V N A
310 294 288 264 257 243 232 222 208 207 188 187 168 139 107 93 92 89 88 76 70 53 24 18 15 1

19 20 39 68 100 114 115 118 119 131 137 154 183 189 192 206 207 223 229 253 260 274 285 295 309 310
T A T YA N A V A L R E V N A P E C H E N K I N A
310 291 290 271 242 210 196 195 192 191 179 173 156 127 121 118 104 103 87 81 57 50 36 25 15 1

PECHENKINA TATYANA VALERIEVNA = 310 = 156-DIES IN A CAR ACCIDENT + 154-WHEN COLLECTING AN OBSTACLE.

310 = 240-DIED IN A CAR ACCIDENT WHEN COLLIDING + 70-ON AN OBSTACLE.

Let's check the decryption with the table:

16** 31 35 45 47 48 54 73 76* 77 80 99 114*115**118** 119**136 146 156* 172 189*199
P O G I B A E T V A V T O A V A R I I P R I
310**294*279 275 265 263 262 256 237 234*233 230 211 196**195**192**191*174 164 154*138 121*

213 214 220 229 234*240** 254 255 271*288*294**310**
N A E Z D E N A P R E P...
111 97 96 90 81 76** 70* 56 55 39* 22** 16**

The table contains 2 chains of 4 consecutive numbers: 114-115-118-119 191-192-195-196

And 1 chain of 3 consecutive numbers: 288-294-310

And also 7 matching columns: 16**\\310** 115**\\196** 118**\\195** 119**\\192** 240**\\76** 294**\ \22** 310**\\16**- (repeat)

Let's consider the decoding: 310 = 119-LIFE DEprived + 191-\102-CARS + 89-DEATH\.

8 18* 27 41 51 63 73 98 104*118**119** 120 123*142**157 158 161 162 179*189*221*
L I Z H I L I S H E N A + A V T O A V A R I A +
310*302 292*283 269 259 247 237 212 206**192** 191*190 187**168*153 152 149 148 131*121*

232*247 261 285* 295**309**310**
C O N C H I N A
89* 78* 63 49 25** 15** 1**

The table contains 1 chain of 4 consecutive numbers: 285-295-309-310

1 chain of 3 consecutive numbers: 1-15-25

And also 6 matching columns: 118**\\206** 119**\\192** 142**\\187** 295**\\25** 309**\\15** 310**\ \1**

In decoding: 310 = 188-DEATH IN A CAR + 122-DESTROYED IN AN ACCIDENT

We will see 8 matching columns:

11 26 40 64 74 88* 89** 92** 93** 96 115*130 143 158 160 170 182 188*
C O N C H I N A V A T O M O B I L E +
310*299 284 270 245 236 222** 221** 218** 217*214 195*180 167 152 150 140 128

191* 192**195**196**213 223*233 251 255 275 277 289 295*309**310**
V A V A R I S G U B L E N A
122* 119**118**115**114* 97 87* 77 59 55 35 33 21 15** 1**

The table contains 2 chains of 4 consecutive numbers: 191-192-195-196 114-115-118-119

And also 8 matching columns: 89**\\222** 92**\\221** 93**\\218** 192**\\119** 195**\\118** 196**\ \115** 309**\\15** 310**\\1**

P (bends around) + (rev) ECHEN (naya) + (became) KI (va) N (ie) A (vehicles) + (ka) TA (strophe) + (death) T + (oncoming) I (vehicles) ON + V A(automobile)LE R(azbilas)b + (vn)E(apne) (stalks)V(a)N(ie) A(vehicles)

310 = P, + ,ECHEN, + ,KI,N, A, + ,TA, + ,ТH + ,I,NA + V A,LE R,b + ,E,B,N, A,.

215 = CAR ACCIDENT (car) = ROAD CAR (car) + CAR (car).

If we make tables from these decryptions, we will see 3 matching columns.

Therefore, it would be best to consider the decoding: 215 = (p) AZBIVA (is) + 189-CATOR DISASTER (billing).

5 8 9 14 37* 38** 57** 86 102 108 125 128 143 149* 150**153**157*177*195 214*215**
T W A D T H A T F O R V O E A V G U S T A
215*210 207 206 201 178**177**158* 129 113 107 90 87 72 66** 65** 62* 58* 38* 20 1**

1** 10 12 22 25 26 37* 38** 57** 58* 76 95 112 127 148 149* 150**153**172 187 200 215*
(r) A Z B I V A... + K A T A S T R O F A A A V T O M O...
215**214*205 203 193 190 189 178**177**158*157*139 120 103 88 67 66** 65** 62* 43 28 15

The table contains 4 chains of 3 consecutive numbers: 37-38-57 149-150-153 62-65-66 158-177-178

And also 5 matching columns: 1**\\215** 38**\\178** 57**\\177** 150**\\66** 153**\\65**

"Deep" decryption offers the following option, in which all columns match:

D(road) (a)B(crash) + (stop)A (ser)DCA + (death)TH + P(r)ERV(an)O (breathing)E + AB(crash) + GU(bit) ST (colony) A(cars)

215 = D,V, + ,A,DCA + ,TH + P,ERV,O,E + AB, + GU, ST, A,.

Look at the column in the lower table of the FULL NAME code:

_______________________________________
195 = TWENTY-FIRST AUGUS(ta)

118 = 64-CRASH + 43-IMPACT + 11-K(death)
_________________________________________
195 = 63-(a)VARIA + 43-IMPACT + 89-DEATH

Code for the number of full YEARS OF LIFE: 86-TWENTY + 46-THREE = 132 = 63-DEath + 69-CATAST(rofa).

Let's look at the tables:

5 8 9 14* 37* 38**57** 86 105 122 132*
TWENTY THREE
132*127 124 123 118* 95**94** 75* 46 27 10

4 14* 16 22 34 63 74 75* 94** 95** 113 132*
G I B E L + K A T A S T (rofa)
132*128 118*116 110 98 69 58 57** 38** 37* 19

The table contains 2 chains of 3 consecutive numbers: 37-38-57 and 75-94-95

And also 2 matching columns: 38**\\95** 57**\\94**

In decryptions: 132 = (u)DAR HEAD IN AN ACCIDENT(s) = (g)IBEL IN A CAR ACCIDENT(s)

We get a slightly different picture:

5** 6 23 27* 42 54 69 72 87 97 100 101 104 105*122**132**
(y) D A R G O L O V A V A V A R I (i)
132**127*126 109 105* 90 78 63 60 45 35 32 31 28 27** 10**

10** 12 18 30 59 62 63 66 85 100 101 104 105*122**132**
(d) I B E L V A V T O A V A R I (i)
132**122*120 114 102 73 70 69 66 47 32 31 28 27** 10**

We see 1 matching line in the tables: 105-122-132

And also 3 matching columns: 5**\\132** 122**\\27** 132**\\10**

10**\\132** 122**\\27** 132**\\10**

"Deep" decryption offers the following option, in which all columns match:

D(breathing) (interrupt)V(ano) + (stop)A (ser)DCA + (death)TY + TR(aumated)I(e)

132 = D,B, + ,A,DCA + ,TH + TP,I,.

Look at the column in the top table of the FULL NAME code:

122 = TWENTY TR(s)
__________________________________________
207 = 69-END + 138-ROAD CUT*(astrophe)

207 - 122 = 85 = INSTANT.

310 = 132-TWENTY-THREE + 178-SEVERE M(brain) INJURY.

215-TWENTY-FIRST OF AUGUST = 132-TWENTY-THREE + 83-CAR ACCIDENT.

132 = TWENTY THREE = 69-END + 63-DEATH.

Fame, recognition and success came to her... after death. Name Tatiana Snezhina became widely known after Alla Pugacheva performed it song "Call me with you...". She was an aspiring singer and the author of several dozen more songs performed by pop stars. Tatyana Snezhina's life was bright and very short.

Few people know that the famous song “Call me with you...”, which was once performed by Alla Pugacheva, was written by Tatyana Snezhina. Tatyana was the author of many other songs that were sung by our pop stars, but her own creative path was tragically cut short at the very beginning of her career.

Tatyana Pechenkina was born in 1972 in Lugansk, six months later the military family moved to Kamchatka, and after another 10 years - to Moscow. Since childhood, Tatyana wrote poems, many of which became songs. The first listeners were classmates at student evenings, her songs were recorded on a tape recorder, and the tapes were distributed among friends and acquaintances. In 1994, Tatyana made her debut on the stage of the Moscow Variety Theater. Then she took part in competitions and group concerts. Then she chose a sonorous pseudonym for herself - Snezhina, in memory of her childhood spent in Kamchatka.

Tatyana Snezhina in childhood

At the end of 1994, Tatyana's father was assigned to Novosibirsk, and the family again moved to another city. There, a cassette with her songs fell into the hands of the director of the Studio-8 youth association, Sergei Bugaev, who at that time was the leader of the local rock movement. Despite the fact that his musical preferences were completely different, Tatyana Snezhina’s cassette soon quietly migrated from the studio to his car.

The ingenuous and even naive lyrics of her songs raised doubts among many about their commercial success, and it was also impossible to “modernize” them with the help of arrangements. “We tried for too long to bring Tanya’s songs up to world standards and suddenly realized that this was impossible. What she writes does not need any serious processing, everything she writes should sound almost untouched because this is what we were waiting for, looking for and could not find for a long time,” recalled one of the arrangers .

Tatiana Snezhina

Bugaev himself did not call this project commercial, but he hoped that Tatyana Snezhina would find her audience. The creative tandem soon became a family union: an engagement took place in August 1995, and a wedding was planned for September. That same fall they were going to release the singer’s new album. But these plans were not destined to come true. On August 19, Sergei and Tatyana went with friends to the Altai Mountains. Two days later, their minibus collided with a MAZ truck, and all five passengers and the driver died on the spot. The singer was only 23 years old.

Tatyana Snezhina and Sergey Bugaev

One day, a young man from Novosibirsk invited Joseph Kobzon to listen to a cassette with Tatyana Snezhina’s songs. The singer was skeptical about this - such requests came to him too often. But the singer did not leave him indifferent: “Tanya’s songs have a soulfulness, a purity that is unusual for our days,” he admitted later. Kobzon gave the tape to Igor Krutoy to listen to and suggested organizing a creative evening dedicated to the memory of the deceased singer. In the same year, a big concert took place in which Snezhina’s songs were performed by pop stars: Alla Pugacheva, Kristina Orbakaite, Lev Leshchenko, Nikolai Trubach, Tatyana Ovsienko and others. After this, many songs entered the performers’ repertoire for many years, such as “The Musician,” which became Kristina Orbakaite’s calling card.

Tatiana Snezhina

But the most famous song was “Call me with you...” performed by Alla Pugacheva. In 1998, in an interview, the diva said: “I have a special, personal relationship with Tatyana Snezhina. I didn’t know her, we “met” after her death. Of course, if Tatyana had remained alive, there would have been a famous author and singer of songs and a famous producer. Tatyana Snezhina for me is a symbol of all talented people whom we often pass by without noticing or looking closely. Hence the meaning of our promotion - don’t pass by the talent! The concert in Novosibirsk seems to prolong the lives of these people. After all, as long as they remember, man is immortal. I get my hands on a lot of cassettes - with songs by both living young authors and dead ones. But when I got a cassette of Tatyana Snezhina’s songs in my hands, I was struck by the poignancy of these songs. Not every song hits the heart like that.”

The singer who became popular only after her death

In 1997-1999 Tatyana Snezhina became a laureate of the All-Russian television music competition “Song of the Year” - unfortunately, posthumously. In 1998, the song “Call me with you...” was named the hit of the year.

Biography

Birth, childhood, youth

Snezhina Tatyana Valerievna was born on May 14, 1972 in Lugansk in the family of serviceman Pechenkin Valery Pavlovich and Tatyana Georgievna. The family had an eldest son, Vadim. Soon after the birth of their daughter, her parents move from Ukraine to Kamchatka. In her autobiography she recalls:

I was born in Ukraine, and my first impressions of life were melodic Ukrainian tunes from the radio next to the crib and my mother’s lullaby. I was not even six months old when fate transferred me from a warm, fertile region to the harsh land of Kamchatka. The pristine beauty of Nature... Gray volcanoes, snow-capped hills, the majestic expanse of the ocean. And new childhood experiences: long winter evenings, howling snowstorms outside the window, the crackling of birch logs in the stove and mother’s tender hands giving birth to Chopin’s unforgettable melodies

Tatiana Snezhina

Tatyana learned to play the piano early, organized home concerts with dressing up and performing songs from the repertoire of famous pop singers. At such impromptu “concerts” she began to recite her first poems. I am used to pouring out my impressions of life events on paper. Relatives recall that Tanya wrote drafts of poems on random scraps, napkins in cafes, and travel tickets, demonstrating an impressionable nature that sincerely responded to the world around her. In Kamchatka, Tatyana studied at a music school and secondary school No. 4 named after. L. N. Tolstoy. From one year on, the family lived in Moscow, and subsequently, from 1992, in Novosibirsk. But moving did not burden Tatyana; it was an opportunity to experience life.

Then school and a new move, this time to Moscow. And the first conscious shock in life is the loss of friends who remained thousands of insurmountable kilometers away, in that harsh and beautiful land. And instead of the joyfully mischievous children's stanzas about “worms and bugs,” sad and at the same time lyrical lines began to come into my head, along with nightly tears for my first love, “which is there, far away, in a distant and harsh land.”

Tatiana Snezhina

Among the school poems of the young poetess you can find those dedicated to Alexander Pushkin, the Decembrists, Zoya Kosmodemyanskaya, and events in her personal life. Poetry contains motifs of death, adulthood, and inner wisdom: .

Even at school age, Tatyana decided to become a doctor. She enters the 2nd Moscow Medical Institute. Here Tatyana continues to engage in creativity, she has the opportunity to show her songs not only in a close circle, but also in a large student audience. The students liked her performances, they tried to record them on cassettes, distributing the songs to a fairly wide circle of friends, their relatives and acquaintances. This gave her confidence in herself, and Tatyana decides to try her hand at show business, taking the pseudonym “Snezhina,” which was probably inspired by the snows of Kamchatka and Siberia. In 1991, Igor Talkov, whom Tatyana considered her idol, was killed:

And then HIS death. The death of a great Man and Poet - the death of Igor Talkov, and dreams, dreams about him. How much has not yet been written, how much has not been sung. Why do people so needed by Russia leave early - Pushkin, Lermontov, Vysotsky, Talkov?

Tatiana Snezhina

Steps to success

If I die before my time, let the white swans carry me away, far, far, to an unknown land, high, high, into the bright sky...

Tatiana Snezhina

That same evening, August 18, 1995, Sergei Bugaev borrowed a Nissan minibus from friends and he, Tatyana and his friends went to the Altai Mountains for honey and sea buckthorn oil.

Heritage. Memory

During her life she wrote more than 200 songs. Thus, the most famous song performed by Alla Pugacheva “Call me with you” belongs to the pen of Tatyana, but Alla Borisovna sang this song after the tragic death of the poetess and performer in 1997. This event served as the starting point for writing poems dedicated to Tatyana Snezhina. Since 1996, her songs have been sung by other pop stars: Joseph Kobzon, Kristina Orbakaite, Lolita Milyavskaya, Tatyana Ovsienko, Mikhail Shufutinsky, Lada Dance, Lev Leshchenko, Nikolai Trubach, Alisa Mon, Tatyana Bulanova, Evgeny Kemerovo, Asker Sedoy, etc. Popular numerous musical compositions based on her music. Her music is heard in films.

Despite the fact that Snezhina wrote more than 200 songs, her poetry, due to its internal melody, inspires many composers to write new songs based on the poems of this author (E. Kemerovo, N. Trubach, etc.). Currently, the repertoires of performers in Russia, Ukraine, and Japan include more than two dozen new songs based on Snezhina’s poems.

In the 21st century, Tatyana Snezhina has become one of the most popular and best-selling poetic authors in Russia. The circulation of her books has crossed the hundred thousand mark.

Books of poetry

• Snezhina’s first collection of poems and songs was called “What is my life worth?” and was published in 1996.
• Snezhina T. Call me with you. - M.: Veche, 2002. - 464 p. - ISBN 5-7838-1080-0
• Snezhina, Tatyana. My star. - M.: Eksmo, 2007. - 400 p. - ISBN 5-699-17924-0
• I take away your sadness - M.: Eksmo, 2007. - 352 p. - ISBN 978-5-699-21387-0
• Tatiana Snezhina. Poems about love - M.: Eksmo, 2007. - 352 p. - ISBN 978-5-699-23329-8
• I don’t regret anything - M.: Eksmo, 2008. - 352 p. - ISBN 978-5-699-19564-0, 5-699-19564-5
• My unsteady life silhouette - M.: Eksmo, 2008. - 320 p. - ISBN 978-5-699-29664-4
• Included - Poems for beloved women - M.: Eksmo, 2008. - 736 p. - ISBN 978-5-699-26427-8
• Tatiana Snezhina. Poems to loved ones. (Gift illustrated edition) - M.: Eksmo, 2009. - 352 p. - ISBN 978-5-699-38024-4
• in the composition - I love you so much - M.: Eksmo, 2009. - 416 p. - ISBN 978-5-699-26427-8
• Tatiana Snezhina. About love - M.: Eksmo, 2010. - 352 p. - ISBN 978-5-699-44722-0
• Tatiana Snezhina. Lyrics. (Gift illustrated edition) - M.: Eksmo, 2010. - 400 p. - ISBN 978-5-699-39965-9
• Snezhina T. Call me with you. - M.: Veche, 2011. - 464 p. - ISBN 978-5-9533-5684-8

Books of poetry and prose

• A trace of fragile love - M.: Eksmo, 2008. - 752 p. - ISBN 978-5-699-28345-3;
• Tatiana Snezhina. The soul is like a violin (Gift edition. Poems, prose, biography). - M.: Eksmo, 2010. - 512 p. - ISBN 978-5-699-42113-8

Prose books

Books about Tatyana Snezhina

1. Kukurekin Yu. Famous and famous-unknown Luhansk residents. - 2008.
2. Kukurekin Yuri, Ushkal Vladimir. Let the white swans carry me away... - 2013.

Discography

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Notes

Links

• on "Yandex.Music"

An excerpt characterizing Snezhin, Tatyana Valerievna

The day after his son’s departure, Prince Nikolai Andreich called Princess Marya to his place.
- Well, are you satisfied now? - he told her, - she quarreled with her son! Are you satisfied? That's all you needed! Are you satisfied?.. It hurts me, it hurts. I'm old and weak, and that's what you wanted. Well, rejoice, rejoice... - And after that, Princess Marya did not see her father for a week. He was sick and did not leave the office.
To her surprise, Princess Marya noticed that during this time of illness the old prince also did not allow m lle Bourienne to visit him. Only Tikhon followed him.
A week later, the prince left and began his old life again, being especially active in buildings and gardens and ending all previous relations with m lle Bourienne. His appearance and cold tone with Princess Marya seemed to say to her: “You see, you made it up about me, lied to Prince Andrei about my relationship with this Frenchwoman and quarreled me with him; and you see that I don’t need either you or the Frenchwoman.”
Princess Marya spent one half of the day with Nikolushka, watching his lessons, herself giving him lessons in the Russian language and music, and talking with Desalles; she spent the other part of the day in her quarters with books, an old nanny, and with God's people, who sometimes came to her from the back porch.
Princess Marya thought about the war the way women think about war. She was afraid for her brother, who was there, horrified, without understanding her, by human cruelty, which forced them to kill each other; but she did not understand the significance of this war, which seemed to her the same as all previous wars. She did not understand the significance of this war, despite the fact that Desalles, her constant interlocutor, who was passionately interested in the progress of the war, tried to explain his thoughts to her, and despite the fact that the people of God who came to her all spoke with horror in their own way about popular rumors about the invasion of the Antichrist, and despite the fact that Julie, now Princess Drubetskaya, who again entered into correspondence with her, wrote patriotic letters to her from Moscow.
“I am writing to you in Russian, my good friend,” wrote Julie, “because I have hatred for all the French, as well as for their language, which I cannot hear spoken... We in Moscow are all delighted through enthusiasm for our beloved emperor.
My poor husband endures labor and hunger in Jewish taverns; but the news I have makes me even more excited.
You probably heard about the heroic feat of Raevsky, who hugged his two sons and said: “I will die with them, but we will not waver!” And indeed, although the enemy was twice as strong as us, we did not waver. We spend our time as best we can; but in war, as in war. Princess Alina and Sophie sit with me all day long, and we, unfortunate widows of living husbands, have wonderful conversations over lint; only you, my friend, are missing... etc.
Mostly Princess Marya did not understand the full significance of this war because the old prince never talked about it, did not acknowledge it and laughed at Desalles at dinner when he talked about this war. The prince's tone was so calm and confident that Princess Marya, without reasoning, believed him.
Throughout the month of July, the old prince was extremely active and even animated. He also laid out a new garden and a new building, a building for the courtyard workers. One thing that bothered Princess Marya was that he slept little and, having changed his habit of sleeping in the study, changed the place of his overnight stays every day. Either he ordered his camp bed to be set up in the gallery, then he remained on the sofa or in the Voltaire chair in the living room and dozed without undressing, while not m lle Bourienne, but the boy Petrusha read to him; then he spent the night in the dining room.
On August 1, a second letter was received from Prince Andrei. In the first letter, received shortly after his departure, Prince Andrei humbly asked his father for forgiveness for what he had allowed himself to say to him, and asked him to return his favor to him. The old prince responded to this letter with an affectionate letter and after this letter he alienated the Frenchwoman from himself. Prince Andrei's second letter, written from near Vitebsk, after the French occupied it, consisted of a brief description of the entire campaign with a plan outlined in the letter, and considerations for the further course of the campaign. In this letter, Prince Andrei presented his father with the inconvenience of his position close to the theater of war, on the very line of movement of the troops, and advised him to go to Moscow.
At dinner that day, in response to the words of Desalles, who said that, as heard, the French had already entered Vitebsk, the old prince remembered Prince Andrei’s letter.
“I received it from Prince Andrei today,” he said to Princess Marya, “didn’t you read it?”
“No, mon pere, [father],” the princess answered fearfully. She could not read a letter that she had never even heard of.
“He writes about this war,” said the prince with that familiar, contemptuous smile with which he always spoke about the real war.
“It must be very interesting,” said Desalles. - The prince is able to know...
- Oh, very interesting! - said Mlle Bourienne.
“Go and bring it to me,” the old prince turned to Mlle Bourienne. – You know, on a small table under a paperweight.
M lle Bourienne jumped up joyfully.
“Oh no,” he shouted, frowning. - Come on, Mikhail Ivanovich.
Mikhail Ivanovich got up and went into the office. But as soon as he left, the old prince, looking around uneasily, threw down his napkin and went off on his own.
“They don’t know how to do anything, they’ll confuse everything.”
While he walked, Princess Marya, Desalles, m lle Bourienne and even Nikolushka silently looked at each other. The old prince returned with a hasty step, accompanied by Mikhail Ivanovich, with a letter and a plan, which he, not allowing anyone to read during dinner, placed next to him.
Going into the living room, he handed the letter to Princess Marya and, laying out the plan of the new building in front of him, which he fixed his eyes on, ordered her to read it aloud. After reading the letter, Princess Marya looked questioningly at her father.
He looked at the plan, obviously lost in thought.
- What do you think about this, prince? – Desalles allowed himself to ask a question.
- I! I!.. - the prince said, as if awakening unpleasantly, without taking his eyes off the construction plan.
- It is quite possible that the theater of war will come so close to us...
- Ha ha ha! Theater of war! - said the prince. “I said and say that the theater of war is Poland, and the enemy will never penetrate further than the Neman.
Desalles looked with surprise at the prince, who was talking about the Neman, when the enemy was already at the Dnieper; but Princess Marya, who had forgotten the geographical position of the Neman, thought that what her father said was true.
- When the snow melts, they will drown in the swamps of Poland. “They just can’t see,” said the prince, apparently thinking about the campaign of 1807, which seemed so recent. - Bennigsen should have entered Prussia earlier, things would have taken a different turn...
“But, prince,” Desalles said timidly, “the letter talks about Vitebsk...
“Ah, in the letter, yes...” the prince said dissatisfied, “yes... yes...” His face suddenly took on a gloomy expression. He paused. - Yes, he writes, the French are defeated, which river is this?
Desalles lowered his eyes.
“The prince doesn’t write anything about this,” he said quietly.
- Doesn’t he write? Well, I didn’t make it up myself. - Everyone was silent for a long time.
“Yes... yes... Well, Mikhaila Ivanovich,” he suddenly said, raising his head and pointing to the construction plan, “tell me how you want to remake it...”
Mikhail Ivanovich approached the plan, and the prince, after talking with him about the plan for the new building, looked angrily at Princess Marya and Desalles, and went home.
Princess Marya saw Desalles' embarrassed and surprised gaze fixed on her father, noticed his silence and was amazed that the father had forgotten his son's letter on the table in the living room; but she was afraid not only to speak and ask Desalles about the reason for his embarrassment and silence, but she was afraid to even think about it.
In the evening, Mikhail Ivanovich, sent from the prince, came to Princess Marya for a letter from Prince Andrei, which was forgotten in the living room. Princess Marya submitted the letter. Although it was unpleasant for her, she allowed herself to ask Mikhail Ivanovich what her father was doing.
“They’re all busy,” said Mikhail Ivanovich with a respectfully mocking smile that made Princess Marya turn pale. – They are very worried about the new building. “We read a little, and now,” said Mikhail Ivanovich, lowering his voice, “the bureau must have started working on the will.” (Recently, one of the prince’s favorite pastimes was working on the papers that were to remain after his death and which he called his will.)
- Is Alpatych being sent to Smolensk? - asked Princess Marya.
- Why, he’s been waiting for a long time.

When Mikhail Ivanovich returned with the letter to the office, the prince, wearing glasses, with a lampshade over his eyes and a candle, was sitting at the open bureau, with papers in his far-off hand, and in a somewhat solemn pose, he was reading his papers (remarks, as he called them), which were to be delivered to the sovereign after his death.
When Mikhail Ivanovich entered, there were tears in his eyes, memories of the time when he wrote what he was now reading. He took the letter from Mikhail Ivanovich’s hands, put it in his pocket, put away the papers and called Alpatych, who had been waiting for a long time.
On a piece of paper he wrote down what was needed in Smolensk, and he, walking around the room past Alpatych, who was waiting at the door, began to give orders.
- First, postal paper, do you hear, eight hundred, according to the sample; gold-edged... a sample, so that it will certainly be according to it; varnish, sealing wax - according to a note from Mikhail Ivanovich.
He walked around the room and looked at the memo.
“Then personally give the governor a letter about the recording.
Then they needed bolts for the doors of the new building, certainly of the style that the prince himself had invented. Then a binding box had to be ordered for storing the will.
Giving orders to Alpatych lasted more than two hours. The prince still did not let him go. He sat down, thought and, closing his eyes, dozed off. Alpatych stirred.
- Well, go, go; If you need anything, I will send it.
Alpatych left. The prince went back to the bureau, looked into it, touched his papers with his hand, locked it again and sat down at the table to write a letter to the governor.
It was already late when he stood up, sealing the letter. He wanted to sleep, but he knew that he would not fall asleep and that his worst thoughts came to him in bed. He called Tikhon and went with him through the rooms to tell him where to make his bed that night. He walked around, trying on every corner.
Everywhere he felt bad, but the worst thing was the familiar sofa in the office. This sofa was scary to him, probably because of the heavy thoughts that he changed his mind while lying on it. Nowhere was good, but the best place of all was the corner in the sofa behind the piano: he had never slept here before.
Tikhon brought the bed with the waiter and began to set it up.
- Not like that, not like that! - the prince shouted and moved it a quarter away from the corner, and then again closer.
“Well, I’ve finally done everything over, now I’ll rest,” the prince thought and allowed Tikhon to undress himself.
Frowning in annoyance from the efforts that had to be made to take off his caftan and trousers, the prince undressed, sank heavily onto the bed and seemed to be lost in thought, looking contemptuously at his yellow, withered legs. He didn’t think, but he hesitated in front of the difficulty ahead of him to lift those legs and move on the bed. “Oh, how hard it is! Oh, if only this work would end quickly, quickly, and you would let me go! - he thought. He pursed his lips and made this effort for the twentieth time and lay down. But as soon as he lay down, suddenly the whole bed moved evenly under him back and forth, as if breathing heavily and pushing. This happened to him almost every night. He opened his eyes that had closed.
- No peace, damned ones! - he growled with anger at someone. “Yes, yes, there was something else important, I saved something very important for myself in bed at night. Valves? No, that's what he said. No, there was something in the living room. Princess Marya was lying about something. Desalle—that fool—was saying something. There’s something in my pocket, I don’t remember.”
- Quiet! What did they talk about at dinner?
- About Prince Mikhail...
- Shut up, shut up. “The prince slammed his hand on the table. - Yes! I know, a letter from Prince Andrei. Princess Marya was reading. Desalles said something about Vitebsk. Now I'll read it.
He ordered the letter to be taken out of his pocket and a table with lemonade and a whitish candle to be moved to the bed, and, putting on his glasses, he began to read. Here only in the silence of the night, in the faint light from under the green cap, did he read the letter for the first time and for a moment understand its meaning.
“The French are in Vitebsk, after four crossings they can be at Smolensk; maybe they’re already there.”
- Quiet! - Tikhon jumped up. - No, no, no, no! - he shouted.
He hid the letter under the candlestick and closed his eyes. And he imagined the Danube, a bright afternoon, reeds, a Russian camp, and he enters, he, a young general, without one wrinkle on his face, cheerful, cheerful, ruddy, into Potemkin’s painted tent, and a burning feeling of envy for his favorite, just as strong, as then, worries him. And he remembers all the words that were said then at his first Meeting with Potemkin. And he imagines a short, fat woman with yellowness in her fat face - Mother Empress, her smiles, words when she greeted him for the first time, and he remembers her own face on the hearse and that clash with Zubov, which was then with her coffin for the right to approach her hand.
“Oh, quickly, quickly return to that time, and so that everything now ends as quickly as possible, as quickly as possible, so that they leave me alone!”

Bald Mountains, the estate of Prince Nikolai Andreich Bolkonsky, was located sixty versts from Smolensk, behind it, and three versts from the Moscow road.
On the same evening, as the prince gave orders to Alpatych, Desalles, having demanded a meeting with Princess Marya, informed her that since the prince was not entirely healthy and was not taking any measures for his safety, and from Prince Andrei’s letter it was clear that he was staying in Bald Mountains If it is unsafe, he respectfully advises her to write a letter with Alpatych to the head of the province in Smolensk with a request to notify her about the state of affairs and the extent of the danger to which Bald Mountains are exposed. Desalle wrote a letter to the governor for Princess Marya, which she signed, and this letter was given to Alpatych with the order to submit it to the governor and, in case of danger, to return as soon as possible.
Having received all the orders, Alpatych, accompanied by his family, in a white feather hat (a princely gift), with a stick, just like the prince, went out to sit in a leather tent, packed with three well-fed Savras.
The bell was tied up and the bells were covered with pieces of paper. The prince did not allow anyone to ride in Bald Mountains with a bell. But Alpatych loved bells and bells on a long journey. Alpatych's courtiers, a zemstvo, a clerk, a cook - black, white, two old women, a Cossack boy, coachmen and various servants saw him off.
The daughter placed chintz down pillows behind him and under him. The old lady's sister-in-law secretly slipped the bundle. One of the coachmen gave him a hand.
- Well, well, women's training! Women, women! - Alpatych said puffingly, patteringly exactly as the prince spoke, and sat down in the tent. Having given the last orders about the work to the zemstvo, and in this way not imitating the prince, Alpatych took off his hat from his bald head and crossed himself three times.
- If anything... you will come back, Yakov Alpatych; For Christ’s sake, have pity on us,” his wife shouted to him, hinting at rumors about war and the enemy.
“Women, women, women’s gatherings,” Alpatych said to himself and drove off, looking around at the fields, some with yellowed rye, some with thick, still green oats, some still black, which were just beginning to double. Alpatych rode along, admiring the rare spring harvest this year, looking closely at the strips of rye crops on which people were beginning to reap in some places, and made his economic considerations about sowing and harvesting and whether any princely order had been forgotten.
Having fed him twice on the way, by the evening of August 4th Alpatych arrived in the city.
On the way, Alpatych met and overtook convoys and troops. Approaching Smolensk, he heard distant shots, but these sounds did not strike him. What struck him most was that, approaching Smolensk, he saw a beautiful field of oats, which some soldiers were mowing, apparently for food, and in which they were camping; This circumstance struck Alpatych, but he soon forgot it, thinking about his business.
All the interests of Alpatych’s life for more than thirty years were limited by the will of the prince alone, and he never left this circle. Everything that did not concern the execution of the prince’s orders not only did not interest him, but did not exist for Alpatych.
Alpatych, having arrived in Smolensk on the evening of August 4th, stopped across the Dnieper, in the Gachensky suburb, at an inn, with the janitor Ferapontov, with whom he had been in the habit of staying for thirty years. Ferapontov, twelve years ago, with the light hand of Alpatych, having bought a grove from the prince, began trading and now had a house, an inn and a flour shop in the province. Ferapontov was a fat, black, red-haired forty-year-old man, with thick lips, a thick bumpy nose, the same bumps over his black, frowning eyebrows and a thick belly.
Ferapontov, in a waistcoat and a cotton shirt, stood at a bench overlooking the street. Seeing Alpatych, he approached him.
- Welcome, Yakov Alpatych. The people are from the city, and you are going to the city,” said the owner.
- So, from the city? - said Alpatych.
“And I say, people are stupid.” Everyone is afraid of the Frenchman.
- Women's talk, women's talk! - said Alpatych.
- That’s how I judge, Yakov Alpatych. I say there is an order that they won’t let him in, which means it’s true. And the men are asking for three rubles per cart - there is no cross on them!
Yakov Alpatych listened inattentively. He demanded a samovar and hay for the horses and, having drunk tea, went to bed.
All night long, troops moved past the inn on the street. The next day Alpatych put on a camisole, which he wore only in the city, and went about his business. The morning was sunny, and from eight o'clock it was already hot. An expensive day for harvesting grain, as Alpatych thought. Shots were heard outside the city from early morning.
From eight o'clock the rifle shots were joined by cannon fire. There were a lot of people on the streets, hurrying somewhere, a lot of soldiers, but just as always, cab drivers were driving, merchants were standing at the shops and services were going on in the churches. Alpatych went to the shops, to public places, to the post office and to the governor. In public places, in shops, at the post office, everyone was talking about the army, about the enemy who had already attacked the city; everyone asked each other what to do, and everyone tried to calm each other down.
At the governor's house, Alpatych found a large number of people, Cossacks and a road carriage that belonged to the governor. On the porch, Yakov Alpatych met two noblemen, one of whom he knew. A nobleman he knew, a former police officer, spoke heatedly.
“It’s not a joke,” he said. - Okay, who is alone? One head and poor - so alone, otherwise there are thirteen people in the family, and all the property... They brought everyone to disappear, what kind of authorities are they after that?.. Eh, I would have outweighed the robbers...
“Yes, well, it will be,” said another.
- What do I care, let him hear! Well, we are not dogs,” said the former police officer and, looking back, he saw Alpatych.
- And, Yakov Alpatych, why are you there?
“By order of his Excellency, to Mr. Governor,” answered Alpatych, proudly raising his head and putting his hand in his bosom, which he always did when he mentioned the prince... “They deigned to order to inquire about the state of affairs,” he said.
“Well, just find out,” shouted the landowner, “they brought it to me, no cart, no nothing!.. Here she is, do you hear? - he said, pointing to the side where the shots were heard.
- They brought everyone to perish... robbers! - he said again and walked off the porch.
Alpatych shook his head and went up the stairs. In the reception room there were merchants, women, and officials, silently exchanging glances among themselves. The office door opened, everyone stood up and moved forward. An official ran out of the door, talked something with the merchant, called behind him a fat official with a cross on his neck and disappeared again through the door, apparently avoiding all the looks and questions addressed to him. Alpatych moved forward and the next time the official exited, putting his hand in his buttoned coat, he turned to the official, handing him two letters.
“To Mr. Baron Asch from General Chief Prince Bolkonsky,” he proclaimed so solemnly and significantly that the official turned to him and took his letter. A few minutes later the governor received Alpatych and hastily told him:
- Report to the prince and princess that I didn’t know anything: I acted according to the highest orders - so...
He gave the paper to Alpatych.
- However, since the prince is unwell, my advice to them is to go to Moscow. I'm on my way now. Report... - But the governor didn’t finish: a dusty and sweaty officer ran through the door and began to say something in French. The governor's face showed horror.
“Go,” he said, nodding his head to Alpatych, and began asking the officer something. Greedy, frightened, helpless glances turned to Alpatych as he left the governor’s office. Unwittingly now listening to the nearby and increasingly intensifying shots, Alpatych hurried to the inn. The paper that the governor gave to Alpatych was as follows:
“I assure you that the city of Smolensk does not yet face the slightest danger, and it is incredible that it will be threatened by it. I am on one side, and Prince Bagration on the other side, we are going to unite in front of Smolensk, which will take place on the 22nd, and both armies with their combined forces will defend their compatriots in the province entrusted to you, until their efforts remove the enemies of the fatherland from them or until they are exterminated in their brave ranks to the last warrior. You see from this that you have every right to reassure the inhabitants of Smolensk, for whoever is protected by two such brave troops can be confident of their victory.” (Instruction from Barclay de Tolly to the Smolensk civil governor, Baron Asch, 1812.)
People were moving restlessly through the streets.
Carts loaded with household utensils, chairs, and cabinets continually drove out of the gates of houses and drove through the streets. In the neighboring house of Ferapontov there were carts and, saying goodbye, the women howled and said sentences. The mongrel dog was barking and spinning around in front of the stalled horses.
Alpatych, with a more hasty step than he usually walked, entered the yard and went straight under the barn to his horses and cart. The coachman was sleeping; he woke him up, ordered him to lay him to bed and entered the hallway. In the master's room one could hear the crying of a child, the wracking sobs of a woman, and the angry, hoarse cry of Ferapontov. The cook, like a frightened chicken, fluttered in the hallway as soon as Alpatych entered.
- He killed her to death - he beat the owner!.. He beat her like that, she dragged her like that!..
- For what? – asked Alpatych.
- I asked to go. It's a woman's business! Take me away, he says, don’t destroy me and my little children; the people, he says, have all left, what, he says, are we? How he started beating. He hit me like that, he dragged me like that!
Alpatych seemed to nod his head approvingly at these words and, not wanting to know anything more, went to the opposite door - the master's door of the room in which his purchases remained.

Singer and composer

AUTOBIOGRAPHY

The most precious memories of any person are memories of his childhood, father, mother, of that carefree and joyful perception of the world that will never be repeated.

I was born in Ukraine, and my first impressions of life were melodic Ukrainian tunes from the radio near the crib and my mother’s lullaby. I was not even six months old when fate transferred me from a warm, fertile region to the harsh land of Kamchatka. The pristine beauty of Nature... Gray volcanoes, snow-capped hills, the majestic expanse of the ocean. And new childhood experiences: long winter evenings, howling snowstorms outside the window, the crackling of birch logs in the stove and mother’s tender hands giving birth to Chopin’s unforgettable melodies.

Our old piano... I sometimes look at it, and it seems to me that all these years it was a member of the family, happy and sad, sick and healed with me. I didn’t yet know how to speak, but, hitting the keys with my childish fingers, I tried to show the world around me my feelings and thoughts.

Then, at three or four years old, the first “variety” performances. Mom's cosmetics, mom's skirt and something from the 70s repertoire. Remember: “Oh, Harlequin, Harlequin...” or even better, “Dark eyes...”. And, of course, thunderous applause from guests and parents who are in love with their child. At the end of the "concerts" - the first nursery rhymes. In one word - Childhood.

Then school and a new move, this time to Moscow. And the first conscious shock in life is the loss of friends who remained thousands of insurmountable kilometers away, in that harsh and beautiful land. And instead of the joyfully playful children's stanzas about “worms and bugs,” sad and at the same time lyrical lines began to come into my head, along with nightly tears for my first love, “which is there, far away, in a distant and harsh land.” They could not yet be called poems, they... were, perhaps, those grains that were destined to germinate later. And the soil was nourished by volumes of Tsvetaeva, Pasternak, Heine, slipped in unnoticed by the caring hand of the elder brother, who saw and understood everything.

Other people's poems, other people's songs, girlfriend Lena, evenings turning into nights at the piano, all this in public, and at night secretly your own - in a notebook, bad, but your own. And later the first listener is my mother, the person closest to me, and her tears, tears of joy and sadness. Only then did I realize that what I had been nurturing and hiding for many years could evoke feelings not only in me. And gradually the circle of people whom I began to trust, to talk about the most intimate, personal things, began to expand. But that was later, when I entered the 2nd Moscow Medical Institute. I don’t know if it was possible to talk about creativity even then, it’s not for me to judge, but I lived by it, I simply filled my inner loneliness, I thirsted for something beautiful and... unrealizable, and people liked it. Student evenings with friends at the club piano became frequent; one of them quietly recorded what I sang and played on a tape recorder, and the tapes began to be distributed among acquaintances, friends, and relatives. This was my first, and therefore most expensive, edition, the first joy of creative satisfaction. I couldn’t even believe right away that what I wrote for myself was needed by someone else. The old pain gradually subsided, new friends appeared, in short, there were no limits to happiness and carefreeness...

And then HIS death. The death of a great Man and Poet - the death of Igor Talkov, and dreams, dreams about him. How much has not yet been written, how much has not been sung. Why do people so needed by Russia leave early - Pushkin, Lermontov, Vysotsky, Talkov? The dreams were prophetic and difficult. Shock, again a spiritual vacuum. I couldn’t walk, think, write. Friends remained... And a new blow of fate, which, regardless of anything, throws me again thousands of kilometers from home, friends, my life - to Siberia, to the city on the Ob - Novosibirsk. Longing for everything that I had lost, as once again, a longing that did not leave me day or night. And songs began to be born, this time I can say with confidence - just songs, sometimes two or three per night. And outside the window there is still the same snow, maybe that’s why I am Snezhina - snow, cold, emptiness. And calls from the past, from afar, from Moscow from friends, from my brother: “We are with you. Record something new and go out.” If it weren’t for them... And the tapes, which I had already recorded myself in my home studio, flew to the capital. One of them, by the will of the same fate, accidentally deviated from the assigned route and ended up on Taganka in the KiS-S studio. A day later a call: “Ready to work.” Two hours later I was already at the frozen airport of Novosibirsk, five more - I was going down the dark steps into the holy of holies of my 1994 year, into the studio - I was walking towards my dream. The dream, however, quickly doused me with water, in the words of my first arranger Alexander Savelyev: “Work and work... but there is something in it.” I suddenly heard, as it seemed to me then, the divine sounds of a mysterious melody, which after a couple of seconds turned out to be just a talented arrangement of my song from my school years, “Rose.”

This was a new page in my biography. Rehearsals and recordings, quarrels and reconciliations with friends-arrangers and cameraman, night taxis and a smoky studio basement, the first success and the first failure. A year of colossal work by the guys I worked with: Kalinkina V., Savelyeva A., Savari D., Krylova S. I worked with them for days, without leaving the studio for weeks. And the result is the first album of my songs, “Remember with Me,” twenty-one songs. Only now I realize that these are songs that came from my dialogues with myself, with my soul, from my tears and my joys, from my life.

Last year he also made his debut at the Variety Theater in a concert by V. Strukov. Gradually she began to gain experience on stage. I had to combine this with studying at the institute, so my first audience was night discos and clubs. She gave her first interviews on the radio. Of course, if it weren’t for the support of my family, brother, friends, and studio staff, I probably wouldn’t have been able to overcome the first difficulties on the way to my dream, the dream of helping people “remember with me” that happiness is nearby.

Now I continue to work, combining this with the need to graduate from college. I hope to release my first album, despite the complexity of such a thing as show business. But the recording of the second one is already in the project. After all, over the years of creativity, I have accumulated about two hundred songs that are waiting for their listeners. And life goes on as usual, new impressions, new thoughts, new words that you need to hear and try to understand. And the main thing is to have a dream. Of course, you still have to work and work, learn a lot, overcome a lot, without this you cannot, but as long as you have a dream in your soul, a light in the distance and friends at your shoulder, you can walk through fire and not get burned, swim across the ocean and not drown.

CONTINUING...

Snezhina is Tatyana’s creative pseudonym. Her father is a high-ranking military man Valery Pavlovich, her mother is Tatyana Georgievna. Tatyana had an older brother, Vadim. Six months after Tatyana’s birth, her father was transferred from Lugansk to Kamchatka. After ten years of service in Kamchatka, Valery Petrovich was transferred to Moscow.

Tanya wrote poetry since childhood and tried to create songs from them. Among Tanya's school poems you can find ones dedicated to Pushkin, the Decembrists, Zoya Kosmodemyanskaya and many events in her personal life. In her poems the concepts of “fate”, “loyalty”, “lie”, “betrayal”, “separation” and “death” were often encountered. Tanya often wrote about death, including her own, in poetry.

If I die before my time,
You give me to the white swans,
Between the feathers of their wings I will get entangled
And I will rush off with them into my dream.

Despite her literary preferences, Tatyana entered the 2nd Moscow Medical Institute, but continued to engage in creativity. The audience liked her performances at student evenings, and some of them recorded her songs on a tape recorder, and the tapes quickly spread among friends, relatives and acquaintances.

Tatyana gained her variety experience by making her debut in 1994 on the stage of the Moscow Variety Theater. This was followed by performances at various youth competitions and pop stages. They started interviewing her. At the same time, Tanya did not give up her studies at the institute, and intended to graduate, despite all the difficulties of concert life. At the same time, I found time to practice choreography. Tatyana decided to take the pseudonym Snezhina, which reflected the snows of Siberia and Kamchatka that she remembered from childhood. Tatyana herself recalled this time as very difficult for herself.

Tatyana Snezhina’s creative biography included quarrels and reconciliations with fellow musicians and arrangers. There were sleepless nights in a smoky studio, endless coffee, debates about what was best, first successes and failures.

At the end of 1994, she recorded the material she had accumulated in the KiS-S studio on Taganka. Soon after this, her family, following her father, who received a new appointment, moved to Novosibirsk. There Tanya's recording ended up in the local philharmonic society, where they did not pay any attention to it. At the same time, the tape landed on the table of the director of the Studio-8 youth association, Sergei Bugaev, who needs to be mentioned separately.

In the mid-1980s, Sergei was a Komsomol worker and at the same time a major figure in the Novosibirsk rock movement. At the end of 1987, he became president of the Novosibirsk rock club, after which he created his legendary youth center "Studio-8", where all the leading groups of the rock club immediately moved. Soon, under the banner of Bugaev, almost the entire flower of Siberian rock and roll stood from the Kalinov Bridge to the Omsk Civil Defense: Sergei became the only person in history who, back in Soviet times, managed to “flood” through the Komsomol the then arch-extremist texts of Yegor Letov . Later, Bugaev somewhat lost faith in the viability of the rock movement and became interested in the idea of ​​“pop music with a human face,” which was more relevant for the mid-1990s. It was here that the fateful meeting between Bugaev and Tatyana Snezhina took place.

In her autobiography, Tatyana Snezhina wrote: “These are songs that came out of my dialogues with myself, with my soul, from my tears and my joys, from my life... I couldn’t even believe that what I wrote for myself was needed by someone more".

It was Sergei Bugaev who played a huge role in the life of Tatyana Snezhina. As he later admitted more than once among his friends, a cassette with her songs quietly migrated from the walls of the studio to his car, and for several weeks he listened to Tanya’s songs, listened, forgetting that this was material for work. The first stages of this work were at first like endless battles - Tatyana did not like the arrangers’ interpretations of her songs, the arrangers, in turn, did not see commercial prospects for promoting her material. At this moment, Tatyana was greatly helped by Bugaev’s talent and efficiency. Somewhere with patience, and somewhere with cruelty, he achieved mutual understanding and a creative spirit in his team. Snezhina herself said: “The work proceeded in different ways. Sometimes we argue, even swear, but we always come to some kind of decision and result. If we are talking about my creativity, about what came out of me, then Sergei Ivanovich often gives in to me , allows me to express myself more, but if we are talking about the professional side, about the stage, arrangements - I trust Sergei Ivanovich more...".

It was difficult for Snezhina to come up with new songs; the work was carried out painstakingly and carefully. Some songs took 2-3 months to record. The work went on, and Tanya’s style changed a little, the studio’s approach to her work changed. As one of the arrangers later recalled: “We tried for too long to bring Tanya’s songs up to world standards and suddenly realized that this was impossible. What she writes does not need any serious processing, everything she writes should sound almost in untouched form because this is what we were waiting for, looking for and could not find for a long time...".

Bugaev himself admitted in one of his television interviews that it was their luck to find both the author of music, songs, and a talented performer in one person: “Our plans do not include creating a pop diva... this is in no way a commercial project ... we want Tanya’s songs to simply be heard, so that she has her own audience...”

Tatyana herself said in one of her interviews: “I don’t set super-goals, I just go step by step as long as I have enough strength and breath...”. Snezhina was a very efficient and demanding person. She constantly tormented herself with the question that she was not living like that, that she had not done enough. She wrote wherever she could, wrote poems on napkins in cafes, on tickets in transport. Snezhina’s family was literally shocked when her poems were everywhere, in notes, in paper trash. She liked to say: “When I get tired of writing, I have a lot of time, then I’ll take up the old notes and process them.”

Working together brought Tatyana and Sergei closer - Bugaev declared his love to Tatyana and made an official proposal. Their wedding was scheduled for mid-September. In August 1995, Tatyana and Sergei were engaged. In the meantime, Snezhina’s album was being recorded at Studio 8, the release of which was planned for the same fall.

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“Apparently, her songs, so somewhat incomprehensibly mysterious, somehow hooked Bugaev,” said the former administrator of “Studio-8” and director of “Civil Defense” Andrei Solovyov. “In general, I never liked such music close to pop, I wouldn’t listen to her if I didn’t know Seryoga. And Snezhina herself gave the impression of a respectable, beautiful girl. I couldn’t imagine her as a singer.”

On August 19, Bugaev borrowed a Nissan minibus from friends and went with his companions to the Altai Mountains to buy honey and sea buckthorn oil. He took Tatyana with him to show her the beauty of the Altai mountain lakes.

Two days later, on the way back, the Nissan collided with a huge MAZ truck, and all six people traveling in the minibus, including Tatyana and Sergei, were killed. There are two main versions of the disaster. According to one of them, the Nissan went to overtake and, due to the right-hand steering wheel, did not notice the truck rushing towards it. According to another version, the MAZ itself suddenly braked sharply, and its trailer skidded into the oncoming lane.

The police report stated: “On August 21, 1995, at the 106th kilometer of the Cherepanovskaya highway Barnaul-Novosibirsk, a Nissan minibus collided with a MAZ truck. As a result of this traffic accident, all six passengers died without regaining consciousness minibus: director of the MCC "Pioneer" Sergei Bugaev, singer Tatyana Snezhina, candidate of sciences Shamil Faizrakhmanov, director of the pharmacy "Mastervet" Igor Golovin, his wife, doctor Golovina Irina and their five-year-old son Vladik."

After the tragic death of Tatyana, thanks to the efforts of Joseph Kobzon, Igor Krutoy and many admirers of the singer’s work, in 1997 her name became known to the general public. Joseph Kobzon said: “One day a young man came up to me and said that there was a girl who lived with us in Novosibirsk. She was very talented. We loved her very much. And we sang her songs. Would you like to listen? You know, I was wary . Because I have a huge number of such cassettes. I listened to the cassette. I listened and, frankly speaking, from the first songs I became very interested. And this thought came to me, this idea: “What if I introduce my colleagues?” And I turned to to Igor Krutoy: “The songs are good. Listen, if it makes sense, let's try, let's think about creating such a song evening." And so the songs began to spread around the circle with incredible speed. And in a large number of songs I found something that, in any case, I tried to try on my own shoulders. In Tanya's songs there is a soulfulness, purity, unusual for our days... Tanya was a child of nature - she loved life, prepared for this life, but man assumes, but God has it... How much lyrics are in these verses and how much revelation is in Tatyana's poems, in the song "Your Letters"... And her other song "Festival of Lies" is Tatyana's light mischievous coquetry. This song is so youthful, disco, cheerful... I would like to remember Tatyana as so beautiful, talented, cheerful."

In the same year, a large concert was held at the State Concert Hall "Russia" to a full house, in which the songs of Tatyana Snezhina were performed by Alla Pugacheva, Kristina Orbakaite, Mikhail Shufutinsky, Lev Leshchenko, Nikolai Trubach, Tatyana Ovsienko and many other Russian pop stars. The songs “Musician”, “Crossroads”, “Snowflake”, “Be with me” and “How many years” hit various charts, and the composition “Call me with you” performed by Alla Pugacheva became a mega-hit.

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Alla Pugacheva, in an interview given in 1998, said: “I have a special, personal relationship with Tatyana Snezhina. I didn’t know her, we “met” after her death. Of course, if Tatyana had remained alive, there would have been a famous author and singer of songs and a famous producer. But there would not be “the saddest story in the world” about modern Romeo and Juliet. Tatyana Snezhina for me is a symbol of all talented people whom we often pass by without noticing, without looking closely. Hence the meaning of our action - do not pass past the talents! The concert in Novosibirsk, as it were, prolongs the lives of these people. After all, as long as they remember, man is immortal. A lot of cassettes come into my hands - with songs by both living young authors and dead ones. But when I got a cassette of songs in my hands Tatyana Snezhina, I was struck by the poignancy of these songs. Not every song hits the heart like that. A flow of positive energy comes from Tatyana Snezhina’s songs. The song “Musician” became the main hit for Kristina Orbakaite, Alisa Mon performs “Snowflake” beautifully. And “Call me with you” is just some kind of mysticism! We recorded it at a studio in Tver and, returning to Moscow, listened to it continuously for three hours in the car. This is a rare case for me. My performance is similar to Tanino’s, no doubt. I had no desire to do everything the other way around, as happens when you take an old song and, willy-nilly, try to sing it in a new way. But in the story of the song “Call Me With You” there was an element of mysticism. I didn’t sing and didn’t want to sing, to be honest. But I heard “Call me with you” - and there was no doubt that I would sing it. When I approached the microphone... I don’t know what suddenly happened to me, but I had the feeling that it wasn’t me singing. Someone is singing in my voice! Believe it or not. The same thing happened with Tanya’s second song, “We are only guests in this life.” I go up to the microphone and again I feel that someone is nearby... I am not a very mystical person. But there was another strange incident with the song “Call me with you.” I come to St. Petersburg to shoot a video. Director Oleg Gusev had not heard anything about Tatyana, did not know the story of her death, and had not even seen photographs. “I don’t have much time,” I say, “I can only photograph the face, and you can come up with the rest yourself.” I come to the studio to watch the video sequence. And I see a road, a car, a car accident! And the girl who was filming is strikingly similar to Snezhina! Then I open a volume of Tatyana’s poems and show Oleg the photograph. Where Tatyana and Sergei were filmed a few hours before their death - well, a copy, one to one! How is this possible? We will never be able to explain!

Tatyana Snezhina's poetry was imbued with extreme lyricism and the tragedy of existence. Many of her poems developed the theme of the transience of life and early tragic death. Almost all the poems are confessional in nature and allow us to understand the deep inner world of the poetess.

In 1997, 1998 and 1999, Tatyana Snezhina became a laureate of the All-Russian television music competition "Song of the Year". In 1998, Tatyana's work was presented in three categories of the National Russian Award "OVATION". At the Golden Palms awards ceremony, the song “Call Me With You” was recognized as the hit of the year. Igor Krutoy, being in the same nomination as Tatyana Snezhina as the best composer of the year, solemnly refused to win in favor of Tanya.

Lev Leshchenko said in an interview: “I accidentally came across Tanya Snezhina’s cassette. I put the cassette in the tape recorder and started listening. The first song interested me very much. The second one somehow even, you know, made me a little happy and turned me on. And then I realized, that this is really... professional material, this is, of course, talent... only a talented person can feel the world around you like this in his young years, and not only the world of young people, but also the world of people with an already established worldview, with established destinies, characters. ...This is the trait of a real artist - to synthesize all this, to combine it in oneself, and then make it possible for it to become some kind of artistic images. Her songs, each one, are an artistic image. Lastly There are very few songs at the time that would be accurately resolved in terms of drama. Each song has some kind of plot, story or dialogue. And this suggests that she was a fairly mature master, despite her young years. Snezhina, a unique talented girl who mastered the beautiful - music, poetry... She sings her songs quite nicely. When I listen, I don't find any gaps. She could easily work as an actress-singer. Her songs are so diverse and filled with some very good light intonations, good mood, and sincerity. God grant that they sound and that they are sung by our performers."

In 1996, Tatyana Snezhina’s poetry collection “What is My Life Worth?” was published, the double album “Call Me with You” was released, and the documentary film “They Were Young” was shot.

In 2001, the Moscow publishing house "Veche" published the most complete anthology of the poetic heritage of Tatyana Snezhina. One of the peaks in the Dzungarian Alatau is named after her, the singer’s fan clubs have appeared in Russia and a website dedicated to the life and work of Tatyana Snezhina has been opened.

Initially, Tatyana Snezhina was buried in Novosibirsk at the Zaeltsovsky cemetery.

Later, her remains were transferred to Moscow to the Troekurovskoye cemetery.

“For 215 years, our city has given the world a whole galaxy of famous and talented people,” said mayor Sergei Kravchenko at the opening of the monument. “Our fellow countrywoman Tatyana Snezhina managed to write a lot of wonderful poems in her short life. She was infinitely talented, songs based on her works "Many famous pop artists sing. This monument is a tribute to the young poetess and all her talented contemporaries."

A documentary film “Remember with me...” was made about Tatyana Snezhina.

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Text prepared by Andrey Goncharov

Used materials:

Text of the article “After all, you didn’t know about me”, author O. Lvova
Materials from the official website of Tatyana Snezhina www.snezhina.ru
Materials from the site www.ckop6b.narod.ru