Modern Tango World #8 (Moscow)

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Russian ballads and patriotic songs dominated the repertoire. Tango was almost never performed, during the 1940s. However, there was one tango that was very popular. This song was written specially for a great Soviet singer, who was the first to get the rank of People’s Artist of USSR, Leonid Utesov. The song was written by Isaac Dunaevsky and Vasily Lebedev-Kumach and is called Serdtse (Heart). It became the soundtrack for the first Soviet musical comedy Veselilye Rebyata (Jolly Fellows). The song was first performed in Russian ballad form. But soon after, versions in Argentinean tango fashion were made. In 1935, Pyotr Leshchenko sang the song in Argentine tango fashion and this version beame very famous in Russia. Though later USSR versions were made more in the style of a Russian ballad, the song became so popular. Its fame spread beyond the state border. It is quite curious that everywhere in the world the song is thought of only as an Argentinean tango. Quite often, this song is named as Kak khorosho na svete zhit! (How great it is to be alive!). Heart, you do not want peace, Heart, how great it is to be alive, Heart, how good that you are like this. Thank you, heart, that you can love so much. According to the plot of the film, the song is performed by the shepherd musician Kostya Potekhin, in whose role Utyosov was shot. This song now is more than eighty years old. The film. Jolly Fellows, was shot in 1934, while the song was written before the shooting. The film became legendary in the Soviet Union. It is not surprising that when fame came to the film, the songs from film also became very popular. For decades, Russian musicians have reincarnated them many times. The 1950s were a period of intensive industrialization of Soviet Union. For the first time, foreign films began to appear on the screens of Soviet cinemas. Many of these films were shot in friendly countries, such as Argentina. One of the most famous Argentine actresses seen on these screens in the Soviet Union, was Lolita Torres, whose films were translated into Russian. In these films, she portrays Spanish folklore, in particular with some demonstrations of Argentine tangos and milongas. Torres came to the Soviet Union fourteen times, beginning in 1959. Throughout the 60s, she gave numerous concerts in Moscow. At that time, she was the only one to represent the Argentine tango in Moscow and could only present this music from the stage. The Soviet people did not dance and did not listen to tango, except for the Wearied Sun. — 10 — TO SUBSCRIBE, CLICK HERE
But, tango did not enjoy the interest of young people. In the 1960s, like all over the world, it was possible to find records with rock and roll in Moscow, but tango was not in demand, However, just before Perestroika, there was an interesting episode in the history of Russian tango which Argentine dancers remember with great pleasure. There was a science-fiction film in 1973 about aliens who come to earth, and are surprised by all the joys of earthly life. In the film, legendary Argentine dancers Gloria & Eduardo Arquimbau dance. However, their appearance in the movies did not popularise tango dance or music. Tango will need to wait until the mid-90s to display its new colors and possibilities, when the first tangp schools opened in Moscow. Nowadays, there are more than sixty schools in Moscow. Today, the Russian tango community is one of the largest in the world. — 11 — TO SUBSCRIBE, CLICK HERE
Page 1 and 2: Modern Tango World Moscow Tango Gui
Page 3 and 4: Modern Tango World: Autumn, 2015
Page 5 and 6: Magnolias on the Snow Andrey Klimov
Page 7 and 8: After a while, their love faded and
Page 9: Being offended, Vas’ka suggests,
Page 13 and 14: In Moscow, there is what is called
Page 15 and 16: — 15 — TO SUBSCRIBE, CLICK HERE
Page 17 and 18: By 2003, the number of tango dancer
Page 21 and 22: Milongas Friday Me Gusta Milonga Pa
Page 23 and 24: Schools NeoTango Ulitsa Sadovaya-Sp
Page 29 and 30: While on the West Coast, I started
Page 33 and 34: The Other Night at La Viruta Daniel
Page 37 and 38: Why there is so little dance in peo
Page 39 and 40: But to become like a child or a pup
Page 41 and 42: Javier Di Ciriaco: íntimo Argentin
Page 43 and 44: Mosalini Teruggi Cuarteto: Chamuyo
Page 45 and 46: Mutual Boleos (Voleo Mutuo) In a gi
Page 47 and 48: Knee Up/Stork (Rodilla/Cigüeña) S
Page 51 and 52: Inner Moscow 01. 5 Life............

Modern Tango World #8 (Moscow)

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